Highlights

THE GRAVE, 2010 by Adam Kalinowski

2010 / 2016
OSB board, soil, grass
The Grave is a site-specific, living sculpture that exists between monument and organism. First realised in Slovakia in 2010 during the XV SOCHA an OBJEKT Sculpture Festival, and later recreated in Istanbul in 2016, the work adapts to different cultural and spatial contexts while preserving its core meaning.

Constructed from plywood structures covered with soil and seeded grass, the sculpture requires regular care—watering and trimming—to remain alive. In contrast to the negative form of a body-shaped cavity in the ground, which naturally merges with the earth, the elevated, grass-covered surface depends on human attention. The grave is therefore not a place of finality or abandonment, but one that demands responsibility and ongoing presence.

By transforming a symbol of death into a living, fragile form, The Grave reflects on memory, care, and the conditions under which meaning is sustained. As a living sculpture, it invites collective engagement and foregrounds the relationship between nature, time, and human commitment. Living organism - grass needs to be watered and trimmed regularly.

https://adamkalinowski.com/home,16,the_grave_2010.html
https://adamkalinowski.com/home,13,the_grave_2016.html

900 × 400 × 140cm
 

SOUTH WESTERLY BLOWING FOG OVER BOSCAWEN, 1992 by Phil Whiting

I made this charcoal drawing in situ near where we lived. When the fog rolled in off the Atlantic it could last for weeks on end.

59 x 84cm

A Place is not One Place, 2025 by Sarah Skinner

A series of photographs resulting from a Psychogeography-inspired approach to Cales Dale near Monyash, Derbyshire where Ash Die-back and mixed species replanting will change the landscape and environment.

This is just one of many different iterations the Limestone has experienced, though. The impact of humans is just a small fraction of its timeline.

River Swim, 2025 by Mary Bowen

Oil and acrylic on canvas.

Muted tones are used to evoke the sensory qualities of the landscape, both in the micro and macro. Surfaces are built up through painterly layers, creating depth and texture that reference both the memory and the physicality of the terrain.

This painting it part of Bowen's latest body of work, IN THE WILD, inviting the viewer to slow down and connect more deeply with the landscape. The paintings encourage a contemplative experience: abstract yet visceral, rooted in processes and elemental forces at work.

105 x 125 cm