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Public Art at Canary Wharf

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Public Art at Canary Wharf IGOR MITORAJ • Testa Addormentata HELAINE BLUMENFELD OBE • Fortuna DO KÖNIG VASSILAKIS • Angelo I SOPHIE SMALLHORN • Colour East 41. 1983 • Bronze 45. 2016 • Bronze 49. 2000 • Bronze, steel, glass, gilded ceramic 53. 2004 • Vinyl E • BANK STREET, OUTSIDE WEST E • JUBILEE PARK Fortuna is Helaine Blumenfeld’s I • 40 BANK STREET LOBBY, GROUND LEVEL I • JUBILEE LINE STATION, NORTH-EAST WINTERGARDEN The bandaged face of most ambitious work to date. Commissioned Angelo I was the second work by Do König ESCALATORS TO MALL, LOWER LEVEL Geometry Testa Addormentata (‘Head Asleep’) is for Canary Wharf Group’s new district, under Vassilakis to be purchased for Canary Wharf’s and flat saturated colour are the focal points of one of three sculptures by Igor Mitoraj construction, this monumental sculpture was inspired permanent collection. This sculpture reflects Sophie Smallhorn’s practice. Her palette of (1944–2014) located in Canary Wharf. by Fortuna, the Roman goddess of luck, and evokes the artist’s keen interest in Greek mythology coloured vinyls is deceptively simple: proportion His enigmatic works combine the surreal the fullness and complexity of the human condition. and culture, as well as in Surrealism. Both and composition are manipulated to create playful with the antiquity of Greece and Rome. Best known for her large-scale outdoor commissions, pieces were cast in Italy where the artist has and pleasing juxtapositions. Smallhorn trained in His earlier sculpture was predominantly Blumenfeld is passionate about bringing sculpture lived since 1989, using the foundries of furniture design, and moved into sculpture after in terracotta or bronze, but he turned to into public spaces. Notable works in London include Pietrasanta and Impruneta. A third sculpture graduating. She collaborated with Populous marble following a trip to Carrara, Italy in 1979. In 2012 he was awarded Tempesta overlooking Hyde Park, and Meridiana in is located in Westferry Circus. Architects to design a spectrum of colours for the exterior ‘Wrap’ and the Knight Commander’s Cross, one of Poland’s highest honours. Holland Park. internal features of the 2012 Olympic Stadium. MAUREEN ANNE HOLLEY • The Spirit of East London MARTIN RICHMAN • We Could Meet JENNIE MONCUR • Redberries • Blueberries ALEXANDER BELESCHENKO • Art Glass Wall 42. 2007 • Photographic lightbox 46. 2015 • Acrylic, fibre optics, electronics 50. 1990 • Paint on linen 54. 2002 • Antique mouth-blown glass I • WEST WINTERGARDEN, GROUND E • CROSSRAIL PLACE, QUAYSIDE Martin I • 40 BANK STREET LOBBY, GROUND LEVEL I • CITIGROUP, GROUND LEVEL Not publicly LEVEL Maureen Anne Holley has Richman is interested in how art can improve Jennie Moncur works mainly in textiles to accessible without permission from Citi. always been fascinated by London: the quality of life in cities, humanising and create sumptuous and robust woven designs. Alexander Beleschenko specialises in its architecture, urban landscape and helping to give locations a sense of place. As unexecuted designs for tapestries, her architectural glass, using a variety of people. The Spirit of East London was We Could Meet consists of a grid of over 500 Redberries and Blueberries paintings echo the techniques to produce beautiful and dramatic purchased by Canary Wharf Group illuminated acrylic rods installed in the water same bold shapes and bright colours as the effects. His two glass walls for Canary Wharf from her 2007 degree exhibition channel and visible from above, programmed weavings, abstracting and juxtaposing demonstrate different aspects of his work. at the University of East London, a so that it changes colour and frequency traditional and decorative references. Both are illuminated through computer photographic montage set within throughout the day and evening. Moncur has carried out a number of large- controlled lighting, creating slowly changing a composite lightbox that captures the spirit and atmosphere of As the lights change colour, the juxtapositions of our colour perception scale commissions in different media, effects. Here ‘walls of light’ create a corridor docklands, the vibrancy of regeneration as well as her East End change as well - red in a field of blue appears different to the same red including the linoleum floor at the ICA, made of antique mouth-blown glass infilled childhood, where her father worked in the Royal Docks. in an orange field. London in 1987, reinstated in 2008. with white resin. DO KÖNIG VASSILAKIS • Tree MICHAEL LYONS • Shepherd of the Sun EMMA BIGGS • Wharf Walk ALEXANDER BELESCHENKO • Art Glass Wall 43. 2003 • Bronze 47. 1994 • Steel, painted 51. 2003 and 2013 • Stone and glass mosaic 55. 2002 • Glass, lighting I • 40 BANK STREET LOBBY, GROUND LEVEL I • CROSSRAIL PLACE ROOF GARDEN. While I • JUBILEE PLACE MALL, LOWER LEVEL I • CITIGROUP ENTRANCE, CANADA PLACE Do König Vassilakis’ work is strongly influenced creating Shepherd of the Sun Michael Lyons began Emma Biggs’ Wharf Walk takes us through MALL, LOWER LEVEL Not publicly by the mythology and the culture of Ancient to think of the good shepherd of Christianity, but Jubilee Place, following a trail of floor mosaics accessible without permission from Citi. Greece and Rome. Her long-standing partnership the discs also seemed to have a planetary or solar depicting some of the trades passing through Alexander Beleschenko’s second glass with the Greek artist Takis, who she met in 1968 at reference, bringing a more primitive or pagan the dockyards that flourished here. Each image is wall for Canary Wharf is visible from the the Venice Biennale, led to extensive travel, association. Both notions are reflected in the title: framed by a piece of evocative text, derived from public walkway. Here he employed a new returning to Greece in 1974. Their close friendship Orion, the mythological hunter, is often referred to Biggs’ careful research for the commission in technique using poured resin infill with leading artists active during the 1960s and as The Shepherd and the constellation is associated 2003. In 2013, when the mall was extended to a combined with enamel glass to create swirling shapes. Beleschenko 1970s, including Salvator Dali, Max Ernst and with the sun-god. This work and Unity of Opposites: lower floor, Biggs was invited to create four new has undertaken numerous public commissions, including works for the Arman, served to infuse her work with a surrealist Vortex were purchased following Lyons’ exhibition mosaics on the same theme. Wharf Walk now Welsh Assembly Building in Cardiff, the Met Office in Exeter and edge, beautifully expressed in this bronze tree. at Canary Wharf in 2014. comprises 17 floor mosaics in all. Millennium Place in Coventry. RACHAEL WOODMAN • Vertical 40 ALISON CROWTHER • Kidney I • Kidney II SOPHIE SMALLHORN • Colour West JULIAN WILD • Origin (Vertical) 44. 2004 • Glass 48. 2008 • Green oak 52. 2004 • Vinyl 56. 2017 • Painted steel, polished stainless steel I • 40 BANK STREET LOBBY, GROUND LEVEL I • 40 BANK STREET LOBBY, GROUND LEVEL I • JUBILEE LINE STATION, NORTH-WEST E • CROSSRAIL PLACE ROOF GARDEN Rachael Woodman’s tall elegant, glass pieces Alison Crowther is both a sculptor and a ESCALATORS TO MALL, LOWER LEVEL Julian Wild uses a range of materials from were created especially for 40 Bank Street furniture maker. Her preferred medium is Geometry and flat saturated colour are focal polished and painted stainless steel to glass and they mirror the far-reaching skyscrapers green oak, which she always tries to source points of Sophie Smallhorn’s practice. Her and ceramic. Recent work includes a series that surround the building. Her work shows from sustainable woodland. Kidney I is carved palette is deceptively simple: proportion and of sculptures that act as man-made versions a concern for simplicity of line and purity in direct relation to the medullary rays of the composition are manipulated to create playful of natural structures. Wild also looks at the of form, whilst the subtle colours celebrate wood, the carving following them from ‘top’ and pleasing juxtapositions. Smallhorn trained relationship between colour and sculpture. the inner beauty of glass. Woodman has to ‘bottom’ of the form. Kidney II relates to the in furniture design, and moved into sculpture In some works the surface of the material worked in the medium for many years, and annual rings on the wood, the rippling surface after graduating. She has since undertaken a underneath is revealed as he leaves areas her glasswork is found in a number of public and carving marks following their concentric range of international exhibitions and unpainted or splits open a coloured collections, including the V&A Museum and the ‘rings’ around the form. Gentle forms, they appear as soft and commissions, including an installation in One sculpture to reveal its shiny metallic core. Contemporary Arts Society. malleable as kidney would be. Canada Square in 2004. LBO LICHTBANKOBJEKTE • Lightbenches ‘Classic’ YVONNE DOMENGE • Coquino Coral SURESH DUTT • Drawing Cube (Blue) 57. 2011 • Translucent glass, LED 61. 2015 • Polymer with onyx powder, stainless steel base 65. 2010 • Mild steel COMING SOON E • CANADA SQUARE PARK Created by E• JUNCTION OF BANK STREET / UPPER BANK E • MONTGOMERY SQUARE Suresh Dutt was German design duo Heidi and Bernd Spiecker, STREET Yvonne Domenge was one of four the winner of the First@108 Public Art Award the ten benches are illuminated through contemporary Mexican artists exhibiting their in 2010, the second year of this award by a programmed sequence, adding a new work at Canary Wharf as part of Mexico UK the Royal Society of Sculptors to provide an dimension to taking the weight off your feet. Year of the Arts 2015. Her work is defined by its opportunity for artists new to public art to The Lightbenches were launched as part of abstract and organic nature, her subject-matter create a large-scale sculpture commission. the Festival of Lights in Berlin in 2011. Bernd reflecting the relationship between man and The Award was sponsored by Canary Wharf explains ‘the emotional interaction of light the natural world.
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