The representation of Place within artworks throughout our history was caused by the search to understand the world and its roles. Throughout this time, many artists devised landscapes in a much different form to the usual accurate representations. Artists in the Post-Modern era have begun to investigate the relationship of memory, psychology and imagination to place and space. These landscapes differ greatly between artists, especially throughout different time periods. Three artists that take very different approaches to the idea of places and spaces are Joseph Mallord William Turner, Toba Khedoori and Jeffrey Smart. Joseph Mallord William Turner was an English Romanticist landscape painter whose work is often regarded as a Romantic …show more content…
The majority of her works are of an immense size as to take up the viewer's entire field of vision and necessitate close viewing. Toba Khedoori's Untitled (doors), is a large piece of 335.3 x 594.4 in dimensions. It consists of five rows of doors that span across the length of the canvas. On each row of doors there is an unadorned railing that spreads across the canvas.There is a rhythmic regularity from the repetition of doors, however each door and each row are subtly different due to the creative process itself. Each door has a different shade of blue and are painted differently, with some of the door frames being different shades of blue as well. The majority of the doors have windows that are coloured white, but a small number of them are blacked out, as if to suggest that the rooms behind them are empty. There is no context to the work, and the doors and apartment rows do not attach to anything but blank, white space above and below. The piece is extremely large, being 3.3 metres by 6 metres, necessitating close-viewing as to see the intricacies of each door. Seen from far away, every aspect of the piece seems to be based on repetition, with each door and railing being the same, but close up everything has different, detailed aspects. No walls or building that these doors could have sprung from are evident, and they seem to emerge out of the blank space behind the picture plane. The obvious order but underlying chaos go together hand in hand. As the Dutch architect Rem Koolhas says about Toba Khedoori's artwork: "In such a model of urban solid and metropolitan void, the desire for stability and the need for instability are no longer