…in the painting Touch Grass, the dominant vista is a screengrab from the 2002 sci-fi thriller Signs, specifically the scene in which the characters first enter a crop circle created by unknown forces. The image of cornfield plants bent in an unnatural manner evokes a distinctly unsettling feeling. The crop circle motif carries strong connotations, particularly within online culture, where it is often associated with conspiracy theories and speculative narratives. Beneath and alongside this central image are additional vistas drawn from different source materials. Together, they form a fragmented whole, an intentional inconsistency in which multiple visual languages are compressed into a single space.
Touch Grass, 2025
oil on canvas
78 ³/₄ x 102 ¹/₄ inches
(200 x 260 cm)
@andrewreedgallery
From my show ‘Far Lands’ at @andrewreedgallery
Look at the sky, 2025
oil on canvas
78 ³/₄ x 102 ¹/₄ inches
(260 x 200 cm)
…Rather than offering a single, stable viewpoint, the paintings construct spaces that feel overlapping,
unsettled, and in flux. Earlier compositions remain partially visible beneath subsequent layers of paint,
creating surfaces where multiple perspectives coexist and compete. Scenes drift in and out of
legibility, as if buffering or failing to fully render. The result is a landscape caught in transition; not fully
natural, not entirely synthetic.
Return to earth, 2025
oil on canvas
78 ³/₄ x 55 inches
(200 x 140 cm)
....Steyerl argues that the stable, grounded viewpoint associated with Renaissance linear perspective, and with the political idea of a centered, sovereign subject, has collapsed. In its place emerges a condition of vertical disorientation shaped by aerial surveillance, drone warfare, satellite imaging, and algorithmic mapping systems. Vision is no longer anchored by a fixed horizon or embodied observer; instead, it operates within a networked, machinic field in which images circulate operationally and are detached from human scale and orientation.
Nest, 2026
oil on canvas
29 ¹/₂ x 23 ¹/₂ inches
(75 x 60 cm)
...an enquiry into painting itself and an extension of “screen space.” Drawing on digital imagery, he slows the image down by substituting mechanical processes with manual labor, embedding it with the idiosyncrasies of the hand. The act of painting becomes performative. A mimetic process in which the hand assumes the role of the machine.
#painting
Touch water, 2026
oil on canvas
78 ³/₄ x 55 inches
(200 x 140 cm)
... is interested in how belief is constructed in an era where images often precede experience, arriving already assembled, mediated, and encoded with systems of power and circulation. Meaning arises from
both the technologies that produce these images and the seemingly neutral landscapes they depict, creating a tension between how the world is seen and what is being seen.
On view @andrewreedgallery
Nature DLC, 2025
oil on canvas
78 ³/₄ x 55 inches
(200 x 140 cm)
… The paintings in this exhibition explore the idea of the threshold, liminal
environments charged with the quiet tension of a world in the process of
becoming something else. They dwell in contradictions: construction and
growth, natural and artificial, stability and constant flux. Clouds drift at the
edge of earth and space. Agricultural fields, shaped into patterned forms
by human hands, hover between the wild and the architectural.
@andrewreedgallery #painting
Tonight from 6-8pm, the gallery opens “Far Lands”, our second solo exhibition with German-born, London-based artist László von Dohnányi.
“Far Lands” takes its title from one of the most infamous glitches in Minecraft. In the game’s early versions, players who travelled far enough from the world’s origin would encounter a terrain-generation error known as the ‘Far Lands’: a zone where the underlying mathematics of the world began to collapse. Rolling hills and coherent biomes gave way to impossible vertical escarpments, stretched and fragmented blocks, razor-sharp cliffs, and jittering, unstable formations that felt at once corrupted and cosmic. The horizon dissolved; the world no longer behaved as it should.
In this exhibition of large-scale oil paintings, the ‘Far Lands’ become both metaphor and method. The works explore landscape not as a fixed site to be depicted, but as a meta-subject shaped by mediation. Drawing imagery exclusively from online sources – video games, films, 3D scans, satellite views, and drone footage – the paintings reflect how contemporary experience of the environment is increasingly filtered through technological systems. Images often precede lived encounter, arriving pre-assembled and encoded with structures of circulation, power, and control.
Installation photography courtesy of Zachary Balber
László von Dohnányi: “Far Lands”
Opening reception: Saturday, April 11, 6 - 8pm
Exhibition: April 11 - May 23
Wednesday - Saturday, 11am - 6pm
