ABSTRACT
This chapter revolves around and seeks to get inside the doing, feeling, and thinking of English artist Peter Lanyon in the mid-twentieth century. Drawing on the painting, constructions and writing of the British artist Peter Lanyon, It explores how geographical knowledge is represented in modern abstract art. The chapter argues that representation in abstract art should not be elided with representation based on mimetic depiction of the world. It argues that representation in abstract art should not be elided with representation based on mimetic depiction of the world. The chapter concentrates on unravelling the multi-sensual character of motilities and emotions in which Lanyon opened. Lanyon offers to help comprehend how the 'poetic geography' of situated knowledge of landscape is put into practice in abstract art. The chapter relates how abstract art can function as representation: as knowledge of the world; as being like the world in an abstract way.
