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Photo courtesy: David De Lima, Apaicuar, 2022, 46 x 35cm, Oil on canvas 

“But this experience of, as it were, experiencing oneself as both subjects and object, of encountering oneself from the outside, as another - an other - sort of person next door, is uncanny.”

                                                                                                                                                                                           — Stuart Henry McPhail Hall (FBA)


Lewis Brander b. 1995, London (UK) Lives and works in London (UK)

Naira Mushtaq b. 1990, Lahore (Pakistan) Lives and works in London (UK)

Yingming Chen b. 1997, Guangdong (China) Lives and works in London (UK)

Linjing Peng b. 1993, Chengdu (China) Lives and works in London (UK)

Marissa Stoffer b. 1988, Dutch-born Scottish Lives and works in Scotland (UK)

Eleanor Wang b. 1994, London (UK) Lives and works in London (UK)

David De Lima b. 1995, Anzoátegua (Venezuela) Lives and works in London (UK)

Marie Obegi b. 1991, Paris (France) Lives and works in London (UK)

Buket Yenidogan b. 1995, Ankara (Turkey) Lives and works in London (UK)

Stanislava Kovalcikova b. 1988, Czechoslovakia Lives and works in Düsseldorf (German)

Alvaro Barrington b. 1983, Caracas (Venezuela) Lives and works in London (UK)

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Naira Mushtaq, 12-01-1933, 2021, 12 x 8.5 cm, Oil and phototransfer on board; 12-07-1974, 2021, 122 x 152 cm, Oil on canvas; 19-05-1961, 2021, 40 x 50 cm, Oil on canvas.  Photograph by Stephen White & Co. (Left to Right)

The Landscape of One’s Own refers to space that exists both internally and externally, physical and beyond, illustrating the concept of home, a spatial imaginary that connects various geographical structures, shaped by culture and socio-economic politics, relating to the construction of one’s identity.

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Marissa Stoffer, We share the Continuum, 20 x 30 cm / 5 of them,  Artist made pigment on canvas.

(Ash tree, Ash tree yellow, Fir tree green, Rowan tree pink, Oak and birch sepia).  Photograph by Stephen White & Co. (Left to Right)

Home is a contested realm where social and economic power is exercised in relation to the construction of one’s identity. For some, it refers to a sense of familiarity and security; for others, a place of exclusion and alienation. Human relationships, subjectivity, communication styles and cognition are all embedded in one’s cultural frame of reference, so in this sense, home can also be a benchmark where judgements are made. While home refers to cultural practices such as religious rituals, daily routines, interpersonal relationships, and attachment to physical objects, the notion of the home also involves an invisible aspect of affective dimension to a particular space or a ‘mythic place of desire’. It exists as a dynamic space where power and mobility anonymously interact. Whilst people can maintain their emotional attachments to their culture of origin, they can also develop a sense of home in other spaces. Home, therefore, is conceptualised as a “continuum in which traumatic and positive experiences of there, here and elsewhere interact over time and space”. The sense of home is often found and exhibited through multilayered emotions such as love, hate, guilt, grief and fear in an individual’s embodied lived experiences. Resistance may be embedded in the notion of one’s emotions where the boundary of one’s cultural knowledge is challenged, leading to a set of uneasy feelings such as fear, frustration, depression, tension, grief and even pain.

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Linjing Peng, Trauma tattoo II, 28 x 30 x 50 cm, Ceramic sculpture;  Alvaro Barrington, Jamaica, 2021,  Mixed media on burlap in artist's frame;

Linjing Peng, Objectified, 2021, 19 x 10 x 12 cm, Ceramic sculpture.  Photograph by Stephen White & Co. (Left to Right)

This exhibition brings together eleven pioneering young artists from Asia, South America, and Europe, whom each contributing their symbolic and poetic way to address the many questions raised by the navigation of home and the sense of belonging. The works presented have been selected to interact with space and time through a subjective narrative of one’s identity in relation to gender, sexuality, race, culture, technology and nature in the form of painting, sculpture, multimedia installation, and poetry, depicting the continuous complexed process of the search for oneself during the course of cultural change. 


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Blunt A 2017, ‘Home”, in D Richardson et al., (eds.), The International Encyclopedia of Geography, John Wiley & Sons Ltd, Chichester.

Brickell, K. 2012. “Mapping” and “Doing” Critical Geographies of Home.” Progress in Human Geography: 225–244.

Butcher. M. 2019 Becoming ‘ghosts': recalling the impact of urban change on the lived experience of multicultural. Ethnic & Racial Studies, 42 (3): 387-394. DOI: 10.1080/01419870.2019.1536273

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Eduardo L. & Murcia P. 2019 Refugee Survey Quarterly, Where the Heart Is and Where It Hurts: Conceptions of Home for People Fleeing Conflict Volume 38, Issue 2, June 2019, Pages 139–158,

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Handel, A. 2019, ‘What’s in home? Towards a critical theory of housing/dwelling’, Environment and Planning C: Politics and Space, vol. 27, no. 6, pp. 1045-1062.

Mitchell, K, Marston, S & Katz, C (eds.) 2004, Life’s work: geographies of social reproduction, Blackwell, Oxford.

Relph E 1976, Place and Placelessness, Pion, London

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