So I was delighted to see the two come together this Christmas, with the installation Winter Light in the grounds of Waddesdon Manor. Contemporary artist Bruce Monro placed six large light-based displays in the glorious landscapes of Waddesdon, which were laid out by Lainé in the 1870s.
The most interesting of the six for me was Field Of Light, a geometric wave that swept down a valley between Lainé’s majestic trees. In the photographs here (from a set by Eamonn McCormack), you can see how, in the late afternoon, the 6,500 tiny lights looked like of a swathe of Spring bulbs; by sunset, they were more reminiscent of a lustrous peacock’s tail; and then a great river of liquid chlorophyll. I like that, close-up, you can see the glass fibre and spheres, understand something of how the display is created, and yet still its magic holds.
Field of Light was not conceived for Waddesdon. It had already been displayed in various locations, in England and the States, and is currently in its first urban setting, in St Andrew Square, Edinburgh. It seems to me to have worked beautifully at Waddesdon, with both Lainé’s confident Victorian landscape and Monro’s contemporary artistry enhanced by the temporary juxtaposition.