Harry Pedrick constructs a speculative cityscape that reflects the dislocated and hybrid experience of a Third Culture Kid, where environments are continuously inhabited, abandoned, and reconstructed through memory and imagination. By transforming a plastic coat hanger into a receding roadway, Pedrick manipulates forced perspective to fabricate a city corridor that feels simultaneously familiar and artificial, echoing the experience of navigating multiple cultural landscapes without fully belonging to any single one.
The plaid fabric backdrop is recontextualised as a compressed skyline, its repetitive grid mimicking the vertical rhythm and impersonal geometry of skyscrapers. This domestic textile, typically associated with intimacy and private space, is elevated into an urban façade, collapsing the boundary between home and city, interior and exterior. In doing so, Pedrick visualises the fluidity of place experienced by those who grow up across shifting geographies and cultural contexts.
Watercolour figures inhabit this constructed city, appearing translucent and fragile against the rigid plastic structure that frames them. Their inconsistent scale destabilises the spatial hierarchy, suggesting the shifting sense of identity and perspective that emerges when moving between cultures. The figures exist in isolation, echoing the liminal position of the Third Culture Kid—simultaneously inside and outside the social structures they inhabit.
At the centre of the scene, a sheep stands incongruously upon the fabric surface. This pastoral intrusion introduces humour while functioning as a metaphor for conformity and collective identity. The sheep suggests the tension between individual identity and the pressure to assimilate into dominant cultural structures, particularly within globalised urban environments. Rendered on soft fabric, it contrasts with the synthetic hanger, reinforcing the dichotomy between organic identity and imposed frameworks.
Rather than documenting a real city, Pedrick fabricates a hybrid landscape assembled from domestic remnants and imagined architecture. Through the manipulation of scale, material, and perspective, he visualises the fragmented, constructed nature of belonging. The work proposes the city not as a fixed location, but as a psychological and cultural collage—an ever-shifting model built from memory, displacement, and adaptation.
