Whether in the recent paintings or in his earlier, austere assemblages of found objects, Neill Fearnley has always been single-minded in his determination to make work that both evokes a place and is of that place. Yet, unlike Richard Long, who solves the dilemma by simply bringing something from nature into an art context and arranging it, Fearnley has never settled on a single method. Since he first began exhibiting in the early ’80s, he has continued to change the way he combines sculptural presence and painting, object and surface. Among young artists, Fearnley’s healthy dissatisfaction with