What happens to a landscape when the real place is allowed to coexist with the place that we imagine? If you fragment it, will unreality come? A re-imagining of myth where story and underworld break the surface, making their presence known by taking physical form and repeating throughout the landscape of the Thames riverside, turning it into a place outside time.

In a series of new carborundum and monoprints, and silkscreened canvas sculptures, Wilkinson's first solo exhibition explores the fevered relationship between the fiction consumed by the mind and the corporeal landscape. Taking its title from an MR James horror story, Casting the Runes repeats shapes, colours and images like cosmic signs - signifiers of fictitious murmurings become solid, rising from the muddy banks to take shape as three dimensional objects formed from printed matter.

Russell Hoban's science fiction novel, The Medusa Frequency transplanted the singing, fortune-telling head of Orpheus into 1980s London, appearing variously as a cabbage, a football and a grapefruit starter at Le Caprice. Casting the Runes sets the scene for Orpheus's demise on the banks of the river Helicon, where jetties, shopping trollies, ropes and bike wheels stand in for his fragmented and broken body.

Born in Oxfordshire in 1987, Isabel Wilkinson trained as a printmaker at Camberwell College of Arts. She has won awards for her work from Artichoke Print, Clifford Chance and the Oficina Bartolomeu dos Santos. She lives and works in south London.

WWW.ISABELWILKINSON.NET

Gallery view:

On plinth: Orpheus skin, 2017 screenprint and eyelets on canvas, monoprint on paper, wood.

Wall. left to right:

3am, 2017 carborundum and monoprint.

Pier 6, 2017 carborundum and monoprint.

Persephone, 2017 carborundum and monoprint.

Orpheus spine, 2017 carborundum and screenprint on canvas, eyelets.

Gallery view:

On far plinth: Orpheus tears, 2017 screenprint and thread on canvas.

On near plinth: Orpheus skin, 2017 screenprint and eyelets on canvas, monoprint on paper, wood.

Wall. left to right:

3am, 2017 carborundum and monoprint.

Pier 6, 2017 carborundum and monoprint.

Persephone, 2017 carborundum and monoprint.

Orpheus spine, 2017 carborundum and screenprint on canvas, eyelets.

Gallery view, works left-right:

Deep dark, 2017 carborundum and monoprint.

Anchor and hope, 2017 carborundum and monoprint.

Casting the Runes I–IV, 2017 carborundum and monoprint.

Novembering I and II. 2017 carborundum and monoprint.

The mossy banks. 2017 carborundum and monoprint

On far plinth: Orpheus tongue, 2017 carborundum and monoprint. 

Fishergirl I and II, 2017 carborundum and monoprint.

On near plinth: Orpheus skin, 2017 screenprint and eyelets on canvas, monoprint on paper, wood.

Gallery view, works left-right:

Orpheus spine, 2017 carborundum and screenprint on canvas, eyelets.

Foreground: Orpheus skin, 2017 screenprint and eyelets on canvas, monoprint on paper, wood.

Deep dark, 2017 carborundum and monoprint.

Anchor and hope, 2017 carborundum and monoprint.

Casting the Runes I–IV, 2017 Carborundum and monoprint.

Gallery view:

Wall: Orpheus cock, 2017 screenprint and monoprint on canvas and mountboard, wood.

Foreground: Orpheus tears, 2017 screenprint and thread on canvas.