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Home , Leeds Art Gallery, Mitzi Cunliffe, Public art, Simon Fujiwara

WELCOME TO SIMON FUJIWARA (b.1982) ERIC GILL (1882-1940) MITZI CUNLIFFE (1918-2006) LORNA GREEN A SPIRE 4 CHRIST DRIVING THE MONEYCHANGERS 6 MAN-MADE FIBRES 8 MEET, SIT AND TALK and PUBLIC ON CAMPUS! FROM THE TEMPLE CONVERSATION

Public Art has played a key role on the University of campus from 2015 ■ Cast jesmonite 1923 ■ Portland stone 1956 ■ Portland Stone Meet, Sit and Talk ■ 1995 ■ the controversial Eric Gill First World War Memorial Christ driving the Laidlaw Library, Michael Sadler Building, foyer Clothworkers’ Building South Sandstone and gravel Moneychangers from the Temple (dedicated in 1923) to the recent Woodhouse Lane entrance Conversation ■ 1999 ■ piece by Simon Fujiwara, A Spire, commissioned to celebrate the new A controversial figure, the The American sculptor Mitzi Sandstone and polished granite Laidlaw Library in 2015. Art on campus enhances the experience of The British-Japanese devoutly religious Gill was born Cunliffe (née Solomon) was born Chancellor’s Court CURATING THE CAMPUS: students, staff, local communities and visitors, reflecting the academic Simon Fujiwara in Sussex and initially trained to in New York and is renowned research themes and learning activities of University life. This trail will was born in London and be an architect. He abandoned for having designed the famous Lorna Green is a sculptor and PUBLIC ART TRAIL draw your attention to art you may never have previously noticed and grew up in Cornwall. He his studies in 1903, eventually theatrical mask for the BAFTA environmental artist based in celebrates the creative communities on campus including our studied at the establishing himself as a sculptor, award. Cunliffe was active as a Cheshire, who works in both and Art and students whose work can often be seen in public producing works with precise designer of jewellery, textiles and urban and rural environments spaces over the summer months as part of their graduation shows. from 2002-05 and Fine linear simplicity. In 1914 he was glass, as well as teaching in later nationally and internationally. Art at the Städelschule commissioned to create the Stations life. She studied Fine Art at Columbia Her public art installations can be This year we highlight the role textile heritage has played in the history Hochschule für Bildende of the Cross for Westminster Cathedral. University from 1935-40. In 1949, permanent or temporary and are of the , as we celebrate the 60th anniversary of Kunst in am Main While working on these, Michael Sadler she came to England when she married a often interactive. She did her MPhil at the Man-Made Fibres by Mitzi Cunliffe on the Clothworkers’ from 2006-08. He is now based – then the University’s Vice-Chancellor – British academic and moved to . the University of Leeds and was a visiting South Building (originally the ground-breaking Man-Made Fibres in . His first major British approached him to discuss a war memorial for Her first large-scale public piece was created lecturer in the School of Fine Art, History of Building). Textile artist Jane Scott will be responding to the sculpture exhibition was at St Ives in 2012. Leeds. Gill revived a proposal rejected by the London for the Festival of Britain in 1951 – Root Bodied Art and Cultural Studies from 1990 to 1997. with a temporary intervention over the summer months, which will County Council to commemorate their war dead, a freestanding Forth which was an 8-foot concrete group. In 1955, the same year she In 1995 she was commissioned to create a site-specific unfold beneath the newly conserved original. Across campus research Fujiwara adopts a quasi-anthropological bronze of Jesus and the Moneychangers. For Leeds, Gill suggested a designed the famous BAFTA award, she was commissioned to create sculpture for the Chancellor’s Court. Meet, Sit and Talk is made up into our textile heritage will be celebrated with public poetry, dance approach in his practice and this work is his first stone frieze, with Christ expelling a group of moneychangers from the a major piece for the new Man-Made Fibres building at the University of 3 stone circles, each stone bearing a rectangle of polished granite performances, textile interventions and hand knitted community public art . The commissioning committee, which included temple– though with some in contemporary attire. In doing so, Gill was of Leeds. Professor JB Speakman, Head of the Department of Textile reflecting the sky and surrounding environment. Green explains the canopies produced at workshops on campus and beyond, transforming student and staff representation, sought to create a new outstanding suggesting that the merchants of Leeds had profited from the war. Industries, required a piece which would reflect the exciting progress sculpture ‘is intended to be used – for sitting, for meeting at and to our open spaces. Exhibitions at The Stanley & Audrey Burton Gallery, feature at the very entrance of the University, in front of the new in the field of synthetic fibres. Cunliffe submitted and a create a socially interactive space’ and students can be seen lunching the Marks & Spencer Company Archive and ULITA will celebrate textile Laidlaw Library. Fujiwara’s work, A Spire, is a beacon and totem that Gill’s was carved in five sections and was initially installed maquette for a vast pair of hands with textile fibres crossed between and revising among the stones on sunny days. Green redesigned the histories accompanied by a series of public art events. We celebrate the evokes the industries on which the University, and indeed, the , are prominently on the wall beneath the University’s Great Hall. It was them, to be executed in Portland stone. Man-Made Fibres was whole area in collaboration with landscape architect Allan R. Ruff, role played by our benefactor Stanley Burton (1914 – 1991) in acquiring largely built. A Spire is conceived as a soaring visual timeline dedicated by the Bishop of Ripon on 1 June 1923. The subject matter unveiled by the Duke of Edinburgh when the new building was opened who created a garden path recalling the flow of a river, the planting art works for campus, acknowledging the role he played in his family – a skyward archaeology that connects the past and the present. was very different from that normally expected of memorials – soldiers in June 1956 and now 60 years on, the work has just been conserved changing shape and colour as the seasons pass. textile company. His father Montague Burton founded the company Tall and cylindrical in form, A Spire is the third spire between two or mourning angels – and caused immediate comment. The so it can be seen again in its original state. in 1904, originally under the name The Cross-Tailoring Company and church buildings on Woodhouse Lane, attention to the Post described it as a ‘curious monument which... promises to create In 1999, Green collaborated on a further intervention, by 1929 they had 400 stores, factories and mills, employing 11,000 physical qualities of the site and creating a visually arresting moment much controversy’ and other local press agreed the work was ‘bizarre’, Cunliffe spent her entire working life bringing Roof Garden, a landscaping project with John people in Leeds itself. Stanley entered the business after World War II on the campus. From the pulverised coal integrated at the base of ‘puzzling’, ‘strange’ and ‘not appropriate’. Gill enjoyed the controversy sculpture and architecture together. She Micklethwaite-Howe now reconverted and became a friend of the sculptor William Chattaway and initiated the the spire symbolising the coal on which Leeds’ prosperity was built, to and published his own defence of the work. Others rallied to defend wanted her work to be ‘used, rained into a sustainable community garden. commission of Quentin Bell’s Levitating Figure. the branches and cables laid into the cast, the surface of intertwined it, including JRR Tolkien. Sadler himself steadfastly championed Gill’s on, leaned against, taken for granted’, Green wanted to connect the natural and technological elements symbolises the current digital era masterpiece as ‘one of the finest things in modern declaring that her life-long dream new garden with her previous Professor Ann Sumner, Head of Cultural Engagement in which organic and man-made materials merge. A Spire creates a art,’ adding ‘the will tell its own tale’. ‘is a world where sculpture is work, and so created another unique new presence at the top of Woodhouse Lane, capturing an ever Subsequently, the weather took its toll produced by the yard in factories sculpture, Conversation. The Start your tour at The Stanley & Audrey Burton Gallery, where you will changing vertical landscape and the passing of time. on the work and ivy was allowed to and used as casually as bricks’. three standing stones, inlaid find an introductory storyboard. Public Art included in this leaflet is to grow over it, until the frieze was In this case however, Man-Made with round plaques of black be found in open spaces and building foyers across campus. Begin your removed to a safer location in Fibres is positioned so high on the granite, respond to the stone tour in the Parkinson Court, immediately outside the gallery... the foyer of the Michael Sadler Clothworkers’ Building South that it circles and celebrate the Below: A Spire (detail) © Simon Fujiwara (Photograph: Andy Manning) building in 1961. can easily be missed. dialogue between sculpture and nature on campus. The entire project gained two Photograph of Eric Gill’s Mitzi Cunliffe at work in her studio on commendations in the Leeds War Memorial Sculpture in Man-Made Fibres, c.1956. Architecture Awards 2000. progress. University of Leeds Art Collection. c.1923 © Estate of the Artist (University of Leeds Archive) This entry has been researched and written by Public Art Project student placement, Sarah Ledjmi.

WILLIAM CHATTAWAY (b.1927) KEITH WILSON (b.1965) QUENTIN BELL (1910-1996) WILLIAM CHATTAWAY (b.1927) AUSTIN WRIGHT (1911-1997) CULTURE ON CAMPUS 1 WALKING FIGURE 3 SIGN FOR ART (STELAE 2014) 5 LEVITATING FIGURE, 7 HERMES/THE SPIRIT OF ENTERPRISE 9 LIMBO KNOWN AS ‘THE DREAMER’ The Stanley & Audrey Burton Gallery A display of major works from the University’s Art Collection including key examples of British 20th century art by Stanley Spencer, Roger Fry, Vanessa Bell, Terry Frost, Ben Nicholson and Ceri Richards, accompanied 1989 recast of 1968 original ■ Bronze 2014 ■ Cast polyurethane elastomer 1982 ■ Fibreglass with internal 1958 ■ Bronze ■ Gift of 1958 ■ Concrete and lead by a wide variety of regularly changing art exhibitions and events with ■ Gift of Stanley Burton, 1989 Beech Grove Plaza steel armature ■ Gift of Stanley Stanley Burton, 1983 Baines Wing Coffee Bar regular public art displays. library.leeds.ac.uk/art-gallery Parkinson Court Burton, 1982 Roger Stevens Building courtyard © WH Chattaway Born in Birmingham, Wilson Clothworkers’ Court Treasures of the Brotherton Gallery studied at Ruskin School of The flying bronze figure on Presented by the Austin The public face of Leeds University Library Special Collections, Chattaway was born in Coventry. Art, , from 1985-88. Quentin Bell was the son of the east wall of the Roger Wright Trust through the displaying highlights such as Shakespeare’s First Folio, original material He attended Coventry School of Art He took his MA at the Slade, Vanessa and Clive Bell and Stevens building is one Art Fund, 2014 written by the Brontës, medieval manuscripts and rare books from from 1943-45 and the Slade from before teaching at the Royal nephew of Virginia Woolf. of the most prominent, around the globe, as well as regular changing exhibitions from the 1945-48, before settling permanently College of Art, and he soon He is renowned as a ceramicist striking on collections. library.leeds.ac.uk/treasures in in 1950. The original Walking established a reputation as a artist and for his books on campus. Originally it was Figure was created in 1968 and is much sculptor with significant solo the Bloomsbury and a commissioned by the Both Galleries: influenced by Alberto Giacometti’s walking exhibitions at Camden Centre, biography of Virginia Woolf. Midland Bank for their Monday: 1-5pm figures of the 1950s and 60s. Chattaway Compton Verney and the Wellcome He was appointed Head of Fine Art London offices in the late Austin Wright grew up in Tuesday-Saturday: 10am-5pm explores the armless female form, considering Collection. He is currently Professor of at the University of Leeds in 1959, 1950s. Chattaway called Cardiff where he attended night FREE ENTRY spatial relationships and the concept of movement Sculpture at Sheffield Hallam University. and later as Professor of Fine Art, until it Hermes, but his patrons classes at the Cardiff School of stage@leeds within a single, life-size work. The original piece was conceived as part of Wilson’s best-known public artwork is Steles 1967. In 1978, Stanley Burton suggested suggested the work be re-named Art before studying Languages at Home to one of Leeds’ newest theatre venues, stage@leeds is the a Triple Group (1968) with a seated figure and one lying horizontally. (Waterworks), an installation for the Olympic Park acquiring a work by Bell for the Leeds campus. The Spirit of Enterprise because the New College, Oxford and pursuing a University’s public licensed theatre complex, within the heart of our (2012). His practice involves ‘on-going enquiry into the Bell proposed a levitating figure – a recurrent theme in Greek god Hermes had ‘a number of career as a teacher. He came to Yorkshire campus. stage.leeds.ac.uk Stanley Burton had enjoyed a close friendship with Chattaway and contingency of meaning specifically in relation to the public functioning his art inspired by a conjuror’s trick he saw as a child – and suggested roles, including that of of less in 1937 and settled in Upper Poppleton with had been elected to serve on the University of Leeds Council in 1952 of sculpture’. six potential locations. Stanley and the Vice-Chancellor, Lord Boyle, desirable characters’. In 1983, when the Midland his wife Sue in 1946 and was based in the county ULITA and was subsequently appointed Chairman of Bodington Hall, the eventually decided upon a site near the Edward Boyle Library. The building was sold to developers for £30m, it was rumoured that for the remainder of his life. He created his sculptures in the barn and An Archive of International Textiles holding collections of worldwide University’s new student hall of residence completed in 1963. Stanley Sign for Art (Stelae 2014) references Wilson’s early years working work was to be cast in fibreglass with a steel armature. An exciting The Spirit of Enterprise was to be sold for scrap. The dilemma hit garden of their 18th century home and by 1954 had given up teaching renown, housed in St Wilfreds Chapel on Western Campus. commissioned a replica of the version of the standing figure from the as an art instructor for deaf-blind adults in the 1980s. ‘Drawing inter-disciplinary partnership emerged with the Department of Civil the national press. Into the breach stepped Chattaway’s longstanding to concentrate on his sculpture. Initially influenced ulita.leeds.ac.uk original triple group, which was installed outside in the grounds of two spaced fingertips in a wave motion across the forehead of the Engineering. Dr. Gurdev Singh was responsible for the design and patron, Stanley Burton, who sent a cheque to the University of Leeds by Moore and Hepworth in his early figures, he Marks in Time Exhibition, M&S Company Archive Bodington Hall. In the 1980s, however, Walking Figure was severely student – a tactile brainwave sign – announced the arrival of the construction of the sculpture’s internal armature and the Department to purchase the work for campus. The work, weighing four and a half became known for his small lead figure groups The exhibition displays an extraordinary historical range of M&S damaged by students and one leg was destroyed beyond repair. artist, the subject of art and the imminent activity of making art’, was responsible for the installation of the work, which was unveiled by tons, arrived on a low-loader from London and was installed that June. and was, between 1961 and 1964, Gregory products. The company was founded in Leeds market by Michael Marks Ever supportive of the University, Stanley intervened again and he remembered. ‘This modification of the British Sign Language, Stanley Burton in October 1982. Chattaway was delighted to see the name of the piece revert to his Fellow at the University of Leeds. Limbo is a in 1884. In front of the building is a public artwork David Mayne created organised with Chattaway to recast the sculpture. This later cast is now presumably derived from the making of a original title, Hermes. gathering together of 26 lead pieces created from Langton woven wire mesh representing cascading folds of a stylised displayed for security reasons within Parkinson Court, where it is seen brushstroke, struck home and stayed One of the most popular public artworks on campus, it has moved from drawings and observations made in roll of fabric, celebrating the Greener Living Spaces programme by thousands of students, staff and visitors each year. with me’, he explained. Standing several times. It was removed from the Edward Boyle Library site due The blank wall is a perfect backdrop to dramatically display Hermes to sketchbooks on family seaside holidays in (in partnership with the environmental charity Groundwork, 2014). Bodington Hall closed in 2013 and the damaged in the centre of Beech Grove to the building expansion and was re-sited in the quiet courtyard of best advantage and a far cry from its position in London. It is a dramatic Anglesey and Cornwall in the 1950s. marksintime.marksandspencer.com original sculpture was displayed in the garden of Plaza, the artwork has been the Baines Wing coffee bar. More recently it has been relocated in example of how public art can change and adapt to new settings and One particular drawing, dating from the the Burton family home, Fulwith Brow. affectionately christened by the Clothworkers’ Court, so that it is more accessible to visitors. It is new audiences, creating fresh dialogues with its environment. early 1950s, is marked as Limbo and Praa International Concert Series students ‘the squiggle’. commonly known on campus as ‘The Dreamer’, but it is not clear (a beach on the south coast of Cornwall) The University Concert Series presents a diverse range of repertoire and when this title was acquired. It has also been called ‘The Astral Lady’, and some of the figures relate directly to those performers, with free Friday lunchtime recitals and a variety of evening Walking Figure although Bell’s original notes make reference to the ‘Elmdon Figure’. Drawing for Hermes in this sculpture, which for many years was performances. concerts.leeds.ac.uk 1968 University of Leeds Whatever its title or location, the artwork is now firmly a key element in Chalk and pencil on displayed in the family garden at Upper Poppleton, With damaged leg, in the garden at Stanley and students next to shared memory and place-making experience on campus. paper on the corner of the patio. Public Art on campus is a series of lunchtime talks, tours of the campus Audrey Burton’s home. (Burton Family Archive) Sign for Art (Stelae 2014) Gift of Stanley Burton, and workshops open to all ages and interests. by Keith Wilson 1983 For full details visit The Stanley & Audrey Burton Gallery website: Levitating Drawing for © WH Chattaway Limbo by Austin Wright, library.leeds.ac.uk/art-gallery-events or sign up to our monthly Sculpture in the garden at Upper Poppleton e-newsletter online for regular updates and new events listings. c.1979 Photograph courtesy of Friends of University Arts and Music (FUAM) Ink and pencil on paper Sue Wright have generously supported this public art map. Founded in William Chattaway’s studio with Gift of Audrey Burton 1989, FUAM supports art and music at the University Triple Group in situ. © Oliver Bell of Leeds. It is a registered charity independent of the (Burton Family Archive) University with the primary function to enrich the © WH Chattaway cultural life of the University, through support of the Stanley & Audrey Burton Gallery and International Concert Series. For more information about how to join the see fuam.leeds.ac.uk MICHAEL LYONS (b.1943) Student creative twin waves of thought woman-made fibres – if sculptures were as common skin under a microscope my hearing aids switched off ‘The Rough Sleeper’ – let your eyes lift up your head neighbours in nowhere different paths woven above ALLAN JOHNSON 10 LENTEN COVER responses the constancy how do you like as bricks, what beautiful a wound healing this sculpture ignoring public art be reminded of nature open your eyes living and loving in boxes our train of thought – 13 A CELEBRATION OF ENGINEERING SCIENCES of the creative soul my dress? buildings we would have! cells knitting together inspired by deaf-blind signing like ignoring the homeless and art – their oneness take in the signs fluidity in lead and stone her guiding hands

1979 ■ Steel (varnished) Student Creative Writing Responses KEY 1962-63 ■ Glass fibre reinforced Western Campus Green A workshop with 2nd year English students led by poet Linda France polyester (GFRP) Lent by the artist. and Ann Sumner produced a series of creative, immediate responses to Public Artworks 6 Poetry response without warp or weft unravelling, Mechanical Engineering Building, Photograph courtesy of to public art on campus and these are shown framing our map. 15 how to make something new, Woodhouse Lane Roy Kitchin Suggested Routes MAN-MADE FIBRES material bearing our name, how to pitch it so the rain runs The creative responses are by: Izzie Shaw; Sarah Ledjmi; Lotta Skule; Nylon! Acrylic! Polyester! Allan Johnson was an architect Lyons was born in Bilston Mary-Kate Rowley; Richard Hales; Shakeel Cox-Henry; Sofia Perretta; It was a woman wearing gloves through, bonding art by profession who worked for North – South Campus Access Route External and science, skin and skein. in Staffordshire and studied Dan Hey; Sarah Bishop; Leo Kary; Sarah Phillips; Katie Robinson; and roses who showed us in stone 11 Lanchester & Lodge, a London at Wolverhampton College Vicky Munro; Aimee Wilmot; Hannah Curzon; Mathilda Pielichaty; North – South Campus Access Route Internal how to spin and weave a fabric practice with a long association of Art and the University of Christie Driver-Snell; Emiko Newman; Amabel Buck; Elle Rigby; (may involve lifts) out of the threads of our lives, Linda France with the University of Leeds. KEY Newcastle. He was Head Linda France. how to hold it in our two hands Creative Writing fellow 2016-17 During the 1950s he worked on of Sculpture at Manchester Accessible entrance serving more than one building the Man-Made Fibres building North - South Campus Access Route External Metropolitan University from Volunteer (now Clothworkers’ South) taking the 1989-93 and now lives and works Volunteer to be involved with our Public Art Project! lead on commissioning Mitzi Cunliffe’s in Yorkshire. His large scale public Be a live guide, assist us with evaluation surveys or apply for a sculpture. His huge sculptural relief, A North - South Campus Access Route Internal (may involvesculptures lifts) are sited in in China student placement opportunity. Contact: [email protected] Celebration of Engineering Sciences, with its and Mexico and throughout Europe. 8 dynamic shapes is inspired by ‘symbols representing Parking for Blue Badge holders only. There are no cross-cam- Poetry response link mechanisms in mechanical engineering’. Johnson’s proposal was pus car routes; please contact the Parking Office His on Lenten Cover was completed on Good submitted to the University Committee and met with enthusiasm from Friday 1979 and is made of steel plate sourced from MEET, SIT AND TALK M&S ARCHIVECOMPANY WESTERN the Vice-Chancellor. 0113 343 5491 or [email protected] for advice. scrap yards in Hull and Leeds. It reminded the artist of cloths covering Our conversation has outlasted 12 CAMPUS church during Lent. This monumental piece creates a gateway grass, outlasted ground. It sits on the front of the Mechanical Engineering building, completed from one place to another. It was originally exhibited at the Serpentine 15 in 1963 by Johnson, by then a lead partner at Lanchester & Lodge. Accessible entrance serving more than one building Stones talk and landscape overhears. Gallery, London, in Mold, at the Norwich Triennial and Margan Park, See for yourself. Sit down While the building itself is not of special interest, this relief is curved Port Talbot before being lent to the Ironbridge Open Air Museum of 14 in shape and prominent on the street, projecting in front of the Sustainable Garden Steel Sculpture in 1991. and tell us what you know. auditorium and lecture theatre and draws the eye to the main entrance Lie in our scattered company of the building.

Wildflower Meadow and watch our silence ULITA Suggesting the interaction of man and machine, DAVID MAYNE grow. 11 Helen Mort, the work captures an energy and struggle GREENER LIVING SPACE Douglas Caster Cultural Fellow combined with a brutal quality. Constructing 10 it from light-weight glass fibre reinforced polyester (GFRP) had distinct advantages, not least that an artwork 2014 ■ Sustainable materials: stainless steel of this size would have been hugely In front of M&S Company Archive expensive and heavy using traditional WORSLEY BUILDING 7 stone. This new light-weight material Leeds-born artist David Mayne combines a career enabled the successful production of large scale public art commissions and his own of a large-scale relief sculpture to be studio practice – making work for galleries and installed in a raised location relatively private clients. His work is in collections throughout easily. In 2016, the sculpture was listed the country and he has been the recipient of awards Grade II by Historic England as a well- for both public art and gallery work. In 2013 David took designed and successful piece of public part in Make It Up North and won the Outstanding Artist Award. ROGER CHANCELLOR’S art utilising modern techniques to enhance a He works in metal employing welding and surface grinding to create 5 STEVENS streetscape dominated by University buildings. texture and quality. His work outside the M&S Company Archive on BUILDING COURT 9 Poetry response the Western Campus was commissioned by Groundwork and Marks & STAGE@ CLOTH THE DREAMER Spencer to celebrate their Greener Living Spaces programme, which LEEDS WORKERSSOUTH Who named me first? was funded from the sale of 5p food carrier bags. Through this joint Who said my stone meant sleep? initiative Groundwork and M&S transformed over 100 parks, play areas, What distanced me from earth? and public gardens across the country. The sculpture reflects M&S’s rich textile history as well as their early adoption of the 5p levy on plastic Who closed my eyes? bags, a fund which was also used to support this commission. Who cast my solitude so deep? UNIVERSITY My tethers are invisible SQUARE but cut them and I rise. HelenST Mort, GEORGE’S Douglas Caster Cultural Fellow HUBERT DALWOOD (1924-1976) FIELDS (1903-1975) 12 UNTITLED BAS-RELIEF 14 DUAL FORM

LEEDS MECHANICAL ENGINEERING BUILDING 1961 ■ Aluminium – 1965 ■ Bronze GENERALsilicon alloy Outside stage@leeds TO Lent by Leeds Art Fund (Leeds ) INFIRMARYstage@leeds BUILDING MICHAEL SADLER HEADINGLEY Dalwood was born in Born in , Yorkshire in 1903, Barbara BAINES WING 1924 in Bristol. He Hepworth enjoyed a lengthy career over 50 was apprenticed as an years, until her death in 1975. She is regarded engineer to the Bristol P as a pre-eminent British sculptor, along with her Aeroplane Company before peer and fellow Yorkshire native, , LAIDLAW LIBRARY

serving in the Royal Navy I gaining high recognition for her work during her N from 1944-46, returning N PARKINSON BUILDING life time. In 1965, the year that she produced Dual E to study at Bath Academy R 9 Form, she was made Dame Commander of the British

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under Kenneth Armitage. I Empire (DBE) and was also made the first female trustee of N He was awarded an Italian G the Tate Gallery – a position she would hold until 1972.

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Government Scholarship from O A 13 1950-51, which he used to work D Dual Form is one of an edition of seven bronzes, a medium that Hepworth in a bronze foundry in Milan, later began working in towards the late 1950s. Despite her transition from returning to teach at Newport School working in wood to bronze, Dual Form reflects Hepworth’s earlier style, of Art from 1951-55. Awarded a Gregory 3 with its simple form and pierced hollows. The sculpture is on loan from Fellowship in 1955, he worked at the University P Leeds Art Gallery and was acquired by the Leeds Art Fund in 1967. of Leeds until 1959. During this period, he was commissioned by a number of universities including Oxford, Manchester and Liverpool. This entry has been researched and written by Public Art Project student . T S placement, Ellen Brown. E In 1961 Dalwood was commissioned to produce this large aluminium G 1 D bas relief frieze for the University’s hall of residence, Bodington O L Hall. Dalwood used clay worked by hand to form casts which were translated into cast metal abstract forms and powerful shapes. 15 BEN EGGLETON (b.1992) When Bodington was closed, and then demolished in 2013, the work IMMUREMENT was stored, cleaned and relocated to its new site at stage@leeds. In 2012 Historic England listed the work, granting Grade II status, 4 in recognition of the sculptor’s ‘new venture on a wholly different scale and technical complexity to anything he had previously made’ 2014 ■ Steel, wood, chairs and its historic interest as an example of public art commissioning by Worsley Building entrance universities during the sixties. TO THE CITY CENTRE 2 Ben Eggleton recently graduated from the University of Leeds with a first class degree in Art and Design. In 2014 he won the FUAM Prize, awarded to the best graduating artist of the year. The work reflects his interest on the debilitating effect dementia has on the sufferer, influenced by his own grandmother’s experience of Alzheimer’s disease. Immurement shows three figures, sat in armchairs, as a comment on the steady increase of dementia. The sense of pathos created by these works was intended to create a psychological connection with the viewer suggesting the sufferers’ physical and mental entrapment within their own bodies.

the Spirit of Enterprise Hermes soars my unspoken history disturbed for many years maybe slaves cast away a dream weaving and woven beauty is risk the catalogue of meetings the bronze messenger our thoughts appear vertical subject to wind rain animals people lost and leaned on silence hangs touch translated Student creative wore a grey tie away from the thieves – once a bright idea I am finally at rest can be angels too her bronze flesh wept of placing my feet sewing and sewn leaning sittings and greetings stretches between earth and sky rooted within us, float away subject to criticism and praise the charcoal girl in a blurred moment texture responses and polished his brogues that left him for scrap new gold ore finally I can dream slaves and soldiers alike? and withered on the floor ancient skills shown on nothing transcended reaching for gold and sleep like leaves in the wind subject to forgetting – placed for eternity silent as a stone ribbonned with questions of chiselled breath