'Virtual Reality'. The stone bust looks at an image of Constable's 'The Cornfield'. 'Christchurch Mansion', Ipswich. For the Colin Painter exhibition, 'The uses of an artist- Constable in Constable country now'.  

Early Sketch. Tin helmet covered in illiustrations from a magazine article about the landscape painter Alfred Munnings. In an important detail this sketch illustrates what 'Landscape Escape No.2' was NOT. An object with pictures stuck onto it.

One of the aspects of 'Landscape Escape No. 2'  that I found most interesting was the notion of climbing into a picture and looking out of it through picture frame vision slots onto the real landscape. It was something that was often lost to many viewers as it was persistantly described by reporters and even curators as 'a tank with pictures stuck on it'.  In fact it was  'made from pictures'! A subtle but important conceptual difference. In a sense it was a pretend landscape 'turned inside out'. It was sculpture made from paintings not a sculpture 'decorated' or enbelished with paintings.  A few conceptual sketches were made at the same time that explored this notion. The stone bust looking at a Constable's 'the Cornfield' was one of these sketches that had a life of its own as it was shown a few times in galleries. 

The bust was borrowed from a different source each time for the duration of the exhibition. In Umetnostna gallery, Maribor, Slovenia, the bust came from the galleries collection.   The title made a humrous comparison to the latest techniological advances at time. It was called 'Virtual Reality.  

The tank makes an apearance on the video screen. Umetnostna Gallery, Maribor, Slovenia.

On the screen is a scene from the tank video where the tank runs over a video of itself playing on a TV in a field. 'Continental Breakfast exhibition' Umetnostna Gallery, Maribor, Slovenia.