Pendant with aluminum, sapele and painted calico by Freddy Tuppen

Between the Fields explores the British landscape as a place shaped as much by memory and perception as by physical form, where land is not only seen, but felt. Carrying traces of time, absence, and a quiet, uncanny presence. This sensibility runs through much of British landscape painting of the late 18th and early 19th centuries. Artists such as Thomas Gainsborough helped establish the genre, while J. M. W. Turner used light and atmosphere to dramatic effect. John Constable, by contrast, grounded his work in close observation of rural England.

Between the Fields is especially informed by Paul Nash, whose vision of the countryside as both real and dreamlike draws on the idea of genius loci, or spirit of place. His landscapes, marked by ruins, megaliths, and drifting mist, suggest a terrain layered with history and unseen forces, where the familiar becomes subtly strange and just out of reach.

Extending this lineage, the exhibition considers the monolith as a primal marker of space – an architectural form reduced to pure presence, poised between relic and proposition. In this context, Freddy Tuppen’s luminous lights emerge as contemporary monoliths: atmospheric objects that seem to glow from within.Through coloured veils and layered diffusion, they inhabit a threshold between visibility and obscurity, invitingreflection on time, perception, and the unseen.