The artistry of Rachel Whiteread consistently evokes a sense of melancholy, but her latest exhibition also reveals subtle touches of humor. Featuring five sculptures displayed in both the galleries and the picturesque Goodwood landscape, along with a series of photographs, this exhibition commemorates the launch of the Goodwood Art Foundation.

This new initiative enhances the legacy of the Cass Sculpture Foundation, which previously occupied 26 acres from 1992 until 2020, showcasing around 80 outdoor sculptures. The park’s footprint has now expanded to 70 acres, incorporating an ancient woodland, and the infrastructure has been improved, with the addition of two gallery spaces, a restaurant adorned with ceramic artworks by Lubna Chowdhary, and expansive wildflower meadows, redesigned by landscape artist Dan Pearson, featuring sculptures by Isamu Noguchi, Hélio Oiticica, Veronica Ryan, and Rose Wylie.

Among her collection, a more reserved piece — a concrete cast of a shed’s interior — quietly stands at the end of a verdant path, reminiscent of a gothic figure at a countryside celebration. Meanwhile, a captivating sound installation by Turner Prize laureate Susan Philipsz, featuring a four-part round inspired by Elizabethan dance, resonates deeply in the forest.

In the smaller gallery, a compelling film by Amie Siegel examines the transition of several works by George Stubbs from private residences to museum displays. Stubbs created three sporting paintings for the Third Duke during his stay at Goodwood around 1759-60, which can be found in the main house.

Taking center stage in the main gallery is Whiteread’s sculpture Doppelganger (2020-2021), crafted from low-cost building debris and painted pure white, resembling an ethereal, collapsing dwelling. Her work often reflects on the remnants of human life in our surroundings. Another indoor piece, Bergamo III (2023), is part of a public artwork commissioned by the municipality of the COVID-impacted region, utilizing stone from the area shaped into forms inspired by the negative spaces left beneath chairs. Although it may require some background knowledge, this sculpture holds significant emotional resonance for the local community.

The exhibition’s photographs are visually powerful, capturing moments across a range of settings from busy London streets to the desolate Californian deserts. Each image serves as a testament to time’s passage and the inevitable decay of human-made structures. While infused with a sense of sadness, there’s also a touch of absurdity, as seen in the remnants of a discarded plastic toy on the street or the cheerful emergence of daisies through tangled netting on a sand dune. A poorly repaired decorative wall seems to exude the indomitable human spirit, illustrating a faint but present hint of humor. ★★★★☆Open until November 2, find more at goodwoodartfoundation.org

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