I am in Cambridge from time to time, and stumbled across the small gallery that Downing College has opened just behind its porter’s lodge. The current exhibition–its third–has borrowed works from Kettles Yard (currently closed for rebuilding) and Richard Long to create an exhibition themed around the idea of landscape.
Kettles Yard being Kettles Yard, there’s a fine selection of British 20th century painters here, from Ben and Winifred Nicholson to John Piper to David Jones to their contemporary Christopher Wood, who died young. One of the most striking paintings in the exhibition is by L. S. Lowry. He’s obviously better known for his industrial images, but used to retreat to Cumbria and the Peak District to recharge. The lake appears in several of his paintings and is likely to be imagined rather than real, a sense of a landscape.
The exhibition is, perhaps literally, overlooked by the Richard Long painting at the top of the post, which has been constructed on the end wall of the rectangular gallery space. I love everything about this: the Dylanesque title, the shape, the choice of typography.
Richard Long’s work has evolved over the years from physical representations of his walks and rearrangment of the landscape. The textworks, of which No Direction Known is one, internalise the landscape, as we always do when we’re out in such places: we are in the landscape, but the landscape is also in us.