Behind the large aviary, a slight imprint in the grass presents the same circular form as one that can be seen inside the fattoria building. This "negative" image in grass suggests that the stones arranged in the fattoria might have once been found here, or may even have been extracted from the outdoor site.
For the viewer, seeing both of the works becomes an exercise of memory, which inevitably provokes association of the two images and discovery of the many subtle messages they send.
Richard Long was born in 1945.
Among his recent one-man shows we recall here: Kunstsammlung Nordrhein-Westfalen, Dusseldorf (1994), New York Public Library (1994); Philadelphia Museum of Art (1994), Palazzo delle Esposizioni, Rome (1994); Museum of Contemporary Art, Sydney (1994); Setagaya Art Museum, Tokyo (1996); National Gallery of Modern Art, Kyoto (1996); Contemporary Arts Museum, Houston (1996); Modern Art Museum of Fort Worth, Fort Worth (1996); Wilhelm Lehmbruck Museum, Duisberg (1997); The Henry Moore Institute, Leeds (1997); Bristol City Museum & Art Gallery, UK (1997); Yorkshire Sculpture Park, Wakefield (1998); Kunstverein Hannover (1999); Guggenheim Bilbao, Bilbao (2000); Museum of Modern and Contemporary Art, Trent (2000); Museu Serralves, Porto (2001); Milwaukee Art Museum, Milwaukee, WI (2001); Tate St. Ives, St. Ives (2002); New Art Centre Sculpture Park & Gallery, East Winterslow, UK; Haunch of Venison, London (2003); Sinagoga Stommeln, Stommeln (2004); Museum of Modern Art, San Francisco (2006) ; Villa Litta, Varese (2007); Galleria Loran O'Neill, Rome (2008).