In Seething Lane, Simon Terrill is presenting for the first time, new photographic works alongside recent drawings and a seven-colour screen print. Individually and collectively, these artworks reflect on fleeting moments in time – captured scenes which might well have been overlooked in the moment and that become significant actions in their detail.
The works reference Pieter Bruegel’s Landscape with the Fall of Icarus (c. 1560) as well as The Fall of the Rebel Angels (1562), Jeffrey Smart’s Cahill Expressway (1962), imagery drawn down from Google Earth and a street in central London named Seething Lane. Seething Lane presents new developments in Terrill’s longstanding themes of relations between architectural spaces and their received narratives, public and private identities, and the idea of the crowd as a tool to examine architecture, identity, community and performance of self.
Seething Lane, Sutton Gallery, Melbourne, 2023; Crowd Theory, Centre for Contemporary Photography, Melbourne, 2019; Like Fire Walk with Me, Sutton Gallery, Melbourne, 2019; Crowd Theory: Thamesmead, The Link Thamesmead, London, 2017; South of the River: Crowd Theory, National Portrait Gallery, London, 2016; Nouns of Assembly, Sutton Gallery, Melbourne, 2016; The Brutalist Playground, a collaboration with Assemble, The Royal Institute of British Architects, London, 2015-19; Room X, Balfron Tower, 2014; Tilt, Sutton Gallery, Melbourne, 2013; Crowd Theory Adelaide, Samstag Museum of Art, Adelaide, 2013; Balfron Project II, 2 Willow Road, National Trust Ernő Goldfinger Museum, Hampstead, 2012; Phantom, Sutton Gallery, Melbourne, 2011; and Balfron Project, Nunnery Gallery, London, 2011.
With Monochrome Eyes, Borough Road Gallery, London, 2020; Civilization: The Way We Live Now, National Gallery of Victoria, Melbourne, 2019; Exchange Value, QUT Art Museum, Brisbane, 2019; An Unorthodox Flow of Images, Centre for Contemporary Photography, Melbourne, 2017; Parallel (of life and) Architecture, The Edge, University of Bath, 2017; Highlights from the MGA Collection, Monash Gallery of Art, Melbourne, 2015; The Piranesi Effect, Ian Potter Museum, Melbourne, 2014; Momentum, McClelland Sculpture Park + Gallery, Melbourne, 2013; Negotiating This World: Contemporary Australian Art, National Gallery of Victoria, Melbourne, 2012; and Royal Academy Summer Exhibition, Royal Academy of Arts, London, 2011.Artist’s profile