The Museum of Enclosure

Lindsay’s work functions as an exploration of the interaction between the human body and its environment. Through manipulation of human shapes into contorted, surrealist images Lindsay blurs the lines of social constructions of body and identity, intertwining them with fantastical conceptions of nature and industry to ask: where does the external end and the I begin?  

Having grown up on the outskirts of Dartmoor, Lindsay has been allowed a natural right too long denied to the rest of England and Wales: the right to wild camp. The Dartmoor Common Land Act of 1985 enshrined Dartmoor with a right of public access; a right unique to the area and one which is under threat. Lindsay says that the time spent walking with friends on the vast moor has informed his relationship with nature and granted him an appreciation for the untamed wilderness that continuously calls into question the limits of human control. Such domination of nature aspired to by landowners like Alexander Darwall and the Duchy of Cornwall is therefore an affront not only to the rare mosses, lichens, and fauna that inhabit these spaces, but also to our conceptions of self. 

The figures presented in Weeds, Iris and Desk subvert physical separation of body and of self. Indeed, they challenge the extent to which we can truly identify as independent bodies isolated from our environment. Instead, his manipulation of scale, colour and physiology demands a radical disorientation. It is from this deconstruction that conversations about our relationship with the world around us may begin. 

For House of Annetta, 2025