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Home , Barbara Hepworth, Eric Gill, Leeds Art Gallery, Mitzi Cunliffe, Parkinson Building, Public art

WELCOME TO SIMON FUJIWARA (b.1982) (1882-1940) MITZI CUNLIFFE (1918-2006) LORNA GREEN 2 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 been an important and much loved feature of the 2015 ■ Cast jesmonite First World War memorial frieze 1956 ■ Portland Stone Meet, Sit and Talk University of campus since 1923, when the controversial First Laidlaw Library, 1923 ■ Portland stone Clothworkers’ Building South 1995 ■ Sandstone and gravel World War memorial by Eric Gill was installed. More recent examples Woodhouse Lane entrance Michael Sadler Building, foyer Conversation include Converse Column by Liliane Lijn, commissioned for the NEXUS The American sculptor Mitzi 1999 ■ Sandstone and building in 2019, or A Spire by Simon Fujiwara, commissioned for the The British-Japanese Michael Sadler, University Vice- Cunliffe (née Solomon) was born polished granite Laidlaw Library in 2015. Art on campus enhances the experience of Simon Fujiwara Chancellor from 1911 to 1923, wished in New York and is renowned Chancellor’s Court students, staff, local communities and visitors, reflecting the academic was born in London and to commemorate the fallen of the Great for having designed the famous research themes and learning activities of University life. grew up in . He War through a public memorial. Sadler theatrical mask for the BAFTA Lorna Green is a sculptor and studied at the chose the prolific artist Eric Gill to sculpt award. Cunliffe was active as a environmental artist based in The has a unique campus, boasting Victorian red a war memorial frieze, after taking a liking designer of jewellery, textiles and Cheshire, who works in both brick wings, Brutalist concrete suites and villas and domestic terraces from 2002-05 and Fine to a Gill had proposed for London glass, as well as teaching in later urban and rural environments adapted for academic use. There is even a cemetery, St George’s Field, Art at the Städelschule County Council. life. She studied at Columbia nationally and internationally. a wonderful green space, in its midst. Public art is carefully curated as Hochschule für Bildende University from 1935-40. In 1949, Her public art installations can be an integral part of the University’s programme of refurbishing and adding Kunst in am Main Gill was a printmaker, typeface designer she came to when she married a permanent or temporary and are to its built landscape. Art on campus responds to this physical context, from 2006-08. He is now based and sculptor known for his precise linear simplicity. British academic and moved to . often interactive. She did her MPhil at as well as to what the University represents, as a site of knowledge in . His first major British He was associated with the modernist direct movement, Her first large-scale public piece was created the University of Leeds and was a visiting production, research and discovery. exhibition was at St Ives in 2012. which encouraged to return to skills favoured in the for the in 1951 – Root Bodied lecturer in the School of Fine Art, Middle Ages. An intensely religious and controversial figure in life, Forth which was an 8-foot concrete group. In 1955, the same year and Cultural Studies from 1990 to 1997. This trail will draw your attention to art you may never have previously Fujiwara adopts a quasi-anthropological scandal has increasingly surrounded Gill following his death, after she designed the famous BAFTA award, she was commissioned to noticed in open spaces and foyers across campus. It tells the fascinating approach in his practice and this work was his first revelations emerged about his sexual abuse of his daughters. create a major piece for the new Man-Made Fibres building at the In 1995 she was commissioned to create a site-specific stories behind these public art works – their creators, patrons and public art . The commissioning committee, which included University of Leeds. Professor JB Speakman, Head of the Department for the Chancellor’s Court. Meet, Sit and Talk is made up of 3 stone placement on campus – and the importance of one particularly student and staff representation, sought to create a new outstanding The frieze represents a story from the Bible in which Christ violently of Textile Industries, required a piece which would refect the exciting circles, each stone bearing a rectangle of polished granite refecting generous and enthusiastic patron of public art on campus, Stanley feature at the very entrance of the University, in front of the new expels moneychangers and merchants from trading in a temple. progress in the field of synthetic fibres. Cunliffe submitted the sky and surrounding environment. Green explains the sculpture ‘is Burton (1914-1991), is highlighted. Laidlaw Library. Fujiwara’s work, A Spire, is a beacon and totem that This moralising subject was popular in European art. However, its and a maquette for a vast pair of hands with textile fibres crossed intended to be used – for sitting, for meeting at and to create a socially evokes the industries on which the University, and indeed, the , use in the context of a 20th-century war memorial was surprising between them, to be executed in Portland stone. Man-Made Fibres interactive space’ and students can be seen lunching and revising We hope it will inspire, trigger your refection, curiosity and create new are largely built. A Spire is conceived as a soaring visual timeline and unusual; the press at the time described it as ‘bizarre, ‘puzzling’, was unveiled by the Duke of Edinburgh when the new building was among the stones on sunny days. Green redesigned the whole area dynamic dialogues. – a skyward archaeology that connects the past and the present. ‘strange’ and ‘not appropriate’. opened in June 1956. 60 years on, the work atop what is now called in collaboration with landscape architect Allan R. Ruff, who created a Tall and cylindrical in form, A Spire is the third spire between two Clothworkers’ Building South has been conserved so that it can be garden path recalling the fow of a river, the planting changing shape Professor Frank Finlay, Director of the Cultural Institute church buildings on Woodhouse Lane, attention to the Gill held anti-industrial beliefs and viewed modern warfare to be driven seen again in its original state. and colour as the seasons pass. physical qualities of the site and creating a visually arresting moment by monetary gain. Some critics believed he was implying that Leeds Begin your tour in the Parkinson Court, immediately outside on the campus. From the pulverised coal integrated at the base of merchants had profited from the war. For Sadler, however, the Christian Cunliffe spent her entire working life In 1999, Green collaborated on a further intervention, Roof Garden, The Stanley & Audrey Burton Gallery... the spire symbolising the coal on which Leeds’ prosperity was built, to subject portrayed the British soldiers’ use of force as justifiable. bringing sculpture and architecture a landscaping project with John Micklethwaite-Howe now reconverted the branches and cables laid into the cast, the surface of intertwined Like Christ, they used violence as a last resort to aid a righteous cause. together. She wanted her work to be into a sustainable community garden. Green wanted to connect the natural and technological elements symbolises the current digital era For Sadler, the frieze presented the war as an ethical rather than a ‘used, rained on, leaned against, new garden with her previous work, and so in which organic and man-made materials merge. A Spire creates a military triumph. taken for granted’, declaring that her created another sculpture, Conversation. unique new presence at the top of Woodhouse Lane, capturing an life-long dream ‘is a world where The three standing stones, inlaid with ever changing vertical landscape and the passing of time. Originally installed on the University’s Great Hall, the frieze was moved sculpture is produced by the yard round plaques of black granite,

to a safer location indoors in the Michael Sadler Building in 1961. in factories and used as casually respond to the stone circles and

as bricks’. In this case however, celebrate the dialogue between

Below: A Spire (detail) © Simon Fujiwara (Photograph: Andy Manning) This work was conserved in 2018 thanks to Man-Made Fibres is positioned so sculpture and nature on TRAIL ART PUBLIC

the Foundation, the Friends high on the Clothworkers’ Building campus. The entire project of University Art and Music (Leeds) and South that it can easily be missed. gained two commendations CAMPUS: THE CURATING Leeds Fund. in the Leeds Architecture Awards 2000. Updated with research by Emily Owen, Mitzi Cunliffe at work in her studio student intern on Man-Made Fibres, c.1956. University of Leeds Art Collection. Sarah Ledjmi, Public Art Project © Estate of the Artist student placement Photograph of Eric Gill’s War Memorial Sculpture in progress. c.1923 (University of Leeds Archive)

1 WILLIAM CHATTAWAY (b.1927) 3 KEITH WILSON (b.1965) 5 QUENTIN BELL (1910-1996) 7 WILLIAM CHATTAWAY (b.1927) 9 AUSTIN WRIGHT (1911-1997) CULTURE ON CAMPUS WALKING FIGURE SIGN FOR ART (STELAE 2014) LEVITATING FIGURE, HERMES/THE SPIRIT OF ENTERPRISE LIMBO KNOWN AS ‘THE DREAMER’ The Stanley & Audrey Burton Gallery A display of major works from the University’s Art Collection 1989 recast of 1968 original ■ Bronze 2014 ■ Cast polyurethane 1982 ■ Fibreglass with 1958 ■ Bronze 1958 ■ Concrete and lead including key examples of British 20th century art by Stanley Parkinson Court elastomer internal steel armature Roger Stevens Building Baines Wing Coffee Bar Spencer, , Vanessa Bell, , and Gift of Stanley Burton, 1989 Beech Grove Plaza Clothworkers’ Court Gift of Stanley Burton, 1983 courtyard Ceri Richards, accompanied by a wide variety of regularly changing Gift of Stanley Burton, 1982 art exhibitions and events with regular public art displays. Chattaway was born in Coventry. Born in , Wilson The fying bronze figure on Presented by the Austin He attended Coventry School of Art studied at Ruskin School of Quentin Bell was the son of the east wall of the Roger Wright Trust through the Treasures of the Brotherton Gallery from 1943-45 and the Slade from Art, , from 1985-88. He Vanessa and Clive Bell and Stevens building is one Art Fund, 2014 The public face of Leeds University Library Special Collections, 1945-48, before settling permanently took his MA at the Slade, before nephew of Virginia Woolf. of the most prominent, displaying highlights such as Shakespeare’s First Folio, original in in 1950. The original Walking teaching at the Royal College He is renowned as a ceramicist striking on material written by the Brontës, medieval manuscripts and Figure was created in 1968 and is of Art, and he soon established artist and for his books on campus. Originally it was rare books from around the globe, as well as regular changing much infuenced by Alberto Giacometti’s a reputation as a sculptor with the Bloomsbury artists and commissioned by the exhibitions from the collections. walking figures of the 1950s and 60s. significant solo exhibitions at a biography of Virginia Woolf. Midland Bank for their library.leeds.ac.uk/galleries Chattaway explores the armless female form, Camden , Compton He was appointed Head of Fine Art London offices in the late Austin Wright grew up in considering spatial relationships and the concept Verney and the Wellcome Collection. at the University of Leeds in 1959, 1950s. Chattaway called Cardiff where he attended night FREE ENTRY of movement within a single, life-size work. The original it Hermes, but his patrons classes at the Cardiff School of Wilson’s best-known public artwork is and later as Professor of Fine Art, until Both Galleries: piece was conceived as part of a Triple Group (1968) with a seated Steles (Waterworks), an installation for the 1967. In 1978, Stanley Burton suggested suggested the work be re-named Art before studying Languages at figure and one lying horizontally. Olympic Park (2012). His practice involves ‘on- acquiring a work by Bell for the Leeds campus. The Spirit of Enterprise because the New College, Oxford and pursuing a Tuesday-Saturday: 10am-5pm going enquiry into the contingency of meaning specifically Bell proposed a levitating figure – a recurrent theme in Greek god Hermes had ‘a number of career as a teacher. He came to Stanley Burton, who enjoyed a close friendship with Chattaway, had in relation to the public functioning of sculpture’. 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 been elected to serve on the University of Leeds Council in 1952; 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 stage@leeds he was subsequently appointed Chairman of Bodington Hall, the Sign for Art (Stelae 2014) references Wilson’s early years working 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 Home to one of Leeds’ newest theatre venues, stage@leeds is University’s new student hall of residence completed in 1963. Stanley as an art instructor for deaf-blind adults in the 1980s. ‘Drawing two 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 and garden of their 18th century home and by 1954 had given up the University’s public licensed theatre complex, within the heart commissioned a replica of the version of the standing figure from the spaced fingertips in a wave motion across the forehead of the student inter-disciplinary partnership emerged with the Department of Civil the national press. Into the breach stepped Chattaway’s longstanding teaching to concentrate on his sculpture. Initially infuenced by Moore of our campus. original triple group, which was installed outside in the grounds of – a tactile brainwave sign – announced the arrival of the artist, the Engineering. Dr. Gurdev Singh was responsible for the design and patron, Stanley Burton, who sent a cheque to the University of Leeds and Hepworth in his early figures, he became known for his small stage.leeds.ac.uk Bodington Hall. In the 1980s, however, Walking Figure was severely subject of art and the imminent activity of making art’, he remembered. construction of the sculpture’s internal armature and the Department to purchase the work for campus. The work, weighing four and a half lead figure groups. Between 1961 and 1964 he was Gregory Fellow in damaged by students and one leg was destroyed beyond repair. ‘This modification of the British Sign Language, presumably derived was responsible for the installation of the work, which was unveiled tons, arrived on a low-loader from London and was installed that June. Sculpture at the University of Leeds. Marks in Time Exhibition, M&S Company Archive Ever supportive of the University, Stanley intervened again and from the making of a brushstroke, by Stanley Burton in October 1982. Chattaway was delighted to see the name of the piece revert to his The exhibition displays an extraordinary historical range of M&S organised with Chattaway to recast the sculpture. This later cast is now struck home and stayed with me’, original title, Hermes. Limbo is a gathering together of 26 lead pieces created from drawings products. The company was founded in Leeds market by Michael Marks displayed for security reasons within Parkinson Court, where it is seen he explained. Standing in the One of the most popular public artworks on campus, it has moved and observations made in sketchbooks on family seaside holidays in in 1884. In front of the building is a public artwork David Mayne created by thousands of students, staff and visitors each year. centre of Beech Grove Plaza, the several times. It was removed from the Edward Boyle Library site due The blank wall is a perfect backdrop to dramatically display Hermes to Anglesey and Cornwall in the 1950s. One from Langton woven wire mesh representing cascading folds of a stylised Bodington Hall closed in 2013 and the damaged artwork has been affectionately 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 particular drawing, dating from the early roll of fabric, celebrating the Greener Living Spaces programme (in original sculpture was displayed in the garden of christened by students ‘the 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 1950s, is marked as Limbo and partnership with the environmental charity Groundwork, 2014). the Burton family home, Fulwith Brow. squiggle’. the Clothworkers’ Court, so that it is more accessible to visitors. It is new audiences, creating fresh dialogues with its environment. Praa (a beach on the south coast marksintime.marksandspencer.com commonly known on campus as ‘The Dreamer’, but it is not clear of Cornwall) and some of the when this title was acquired. It has also been called ‘The Astral Lady’, figures relate directly to those International Concert Series Walking Figure 1968 University of Leeds although Bell’s original notes make reference to the ‘Elmdon Figure’. Drawing for Hermes in this sculpture, which for The University Concert Series presents a diverse range of repertoire With damaged leg, in the garden at students next to Whatever its title or location, the artwork is now firmly a key element Chalk and pencil many years was displayed and performers, with free Friday lunchtime recitals and a variety of Stanley and Audrey Burton’s home. Sign for Art in shared memory and place-making experience on campus. on paper in the family garden at evening performances. (Burton Family Archive) © WH Chattaway (Stelae 2014) Gift of Stanley Burton, Upper Poppleton, on concerts.leeds.ac.uk by Keith Wilson 1983 the corner of the patio. Levitating Drawing for © WH Chattaway Sculpture c.1979 Ink and pencil on paper William Chattaway’s studio Gift of Audrey Burton with Triple Group in situ. © Oliver Bell (Burton Family Archive) © WH Chattaway 10 MICHAEL LYONS (1943-2019) ALLAN JOHNSON 14 (1903-1975) 15 LILIANE LIJN (b.1939) SUE LAWTY (b. 1954) HENRY MOORE (1898 –1986) LENTEN COVER 13 A CELEBRATION OF DUAL FORM CONVERSE COLUMN 16 With DAN JONES and HELEN MORT 17 THREE PIECE RECLINING FIGURE ENGINEERING SCIENCES TEXTA TEXENS NO.2: BRIDGE PROP

1979 ■ Steel (varnished) 1962-63 ■ Glass fibre 1965 ■ Bronze 2019 ■ Laser-cut painted aluminium, 2016 ■ Kilkenny limestone 1963 ■ Bronze Western Campus Green reinforced polyester (GFRP) Outside stage@leeds stainless steel with LED lighting Pavement in front of Parkinson Court Mechanical Engineering Lent by Leeds Art Fund and turntable mechanism. Clothworkers’ South Building Lent by Leeds Art Fund Lyons was born in Bilston in Building, Woodhouse Lane (Leeds Museums & Galleries) Fabricated by Neon Circus (Leeds Museums & Galleries) Staffordshire and studied at Discovery Way, outside NEXUS Building Commissioned to celebrate the College of Art and Allan Johnson was an architect by Born in , Yorkshire in ‘Yorkshire Year of the Textile’ on Henry Moore was born in the University of Newcastle. He was profession who worked for Lanchester 1903, Barbara Hepworth enjoyed Converse Column is a nine metre high, two campus in 2016, Sue Lawty’s Castleford, . Head of Sculpture at Manchester & Lodge, a London practice with a long a lengthy career over 50 years, and a half metre diameter revolving ‘Poemdrum’ Texta Texens is located in the After the war Moore became a Metropolitan University from 1989- association with the University of Leeds. until her death in 1975. She is commissioned for the NEXUS building, using walkway outside the Clothworkers’ student at the Leeds School of 93. Until his death in 2019, Lyons During the 1950s he worked on the Man-Made regarded as a pre-eminent British light, motion and language, to explore how unexpected South Building. It develops a dialogue Art (now ), lived and worked in Yorkshire. His Fibres building (now Clothworkers’ South) taking sculptor, along with her peer and juxtapositions can provoke discourse and fresh meanings. Lijn’s poem with Mitzi Cunliffe’s Man-Made Fibres where he met fellow Yorkshire large scale public sculptures are sited the lead on commissioning Mitzi Cunliffe’s sculpture. fellow Yorkshire native, Henry has been laser-cut into the surface of two nested columnar drums, which on the building’s façade above. sculptor Barbara Hepworth. While in in China and Mexico and His huge sculptural , A Celebration of Engineering Moore, gaining high recognition for continually turn in opposite directions and at different speeds. Visible studying in Leeds, Moore also had throughout Europe. Sciences, with its dynamic shapes is inspired by ‘symbols representing her work during her life time. In 1965, as daylight recedes, two layers of internal lighting illuminate the words, Lawty works across disciplines and materials, including stone and access to the modernist works in link mechanisms in mechanical engineering’. Johnson’s proposal was the year that she produced Dual Form, with a carefully programmed suite of colour changes. woven structures. She was Artist in Residence at the V&A Museum the collection of Sir Michael Sadler, the His Lenten Cover was completed on Good Friday submitted to the University Committee and met with enthusiasm from she was made Dame Commander of the from 2005 until 2006 and Leverhulme Artist in Residence in the School University’s then Vice-Chancellor, which 1979 and is made of steel plate sourced from scrap yards the Vice-Chancellor. British Empire (DBE) and was also made To create a collaborative poem, Lijn asked students and staff to submit of Earth & Environment, University of Leeds between 2014 and 2015. had a profound effect on his development. in Hull and Leeds. It reminded the artist of cloths covering church the first female trustee of the Tate Gallery – short texts, on themes of interchange, invention and transformation. Liliane Lawty worked with poet Helen Mort, Douglas Caster Cultural Fellow at during Lent. This monumental piece creates a gateway from It sits on the front of the Mechanical Engineering building, completed a position she would hold until 1972. Lijn is known for her work with kinetic text and is a pioneer in the interaction the University of Leeds (2014-16) and with Yorkshire sculptor Dan Jones The sculpture consists of three bronze segments positioned to represent one place to another. It was originally exhibited at the Serpentine in 1963 by Johnson, by then a lead partner at Lanchester & Lodge. of art, science, technology and language. Lijn is interested in dislocating to create Texta Texens. a reclining human figure in multiple pieces. According to the artist, the Gallery, London, in Mold, at the Norwich Triennial and Margan Park, While the building itself is not of special interest, this relief is curved Dual Form is one of an edition of seven bronzes, a medium that Hepworth the linearity of given syntax. Here, the poem is difficult to read in a linear work was inspired by Waterloo Bridge, London, in which he saw one Port Talbot before being lent to the Ironbridge Open Air Museum of in shape and prominent on the street, projecting in front of the began working in towards the late 1950s. Despite her transition from , but unexpected juxtapositions of words create new meanings. Mort’s poem ‘Texere’ is engraved in the sculpture. The words ‘text’ part of the bridge resting against another, giving the sculpture its subtitle Steel Sculpture in 1991. The work was lent to the University of Leeds auditorium and lecture theatre and draws the eye to the main working in wood to bronze, Dual Form refects Hepworth’s earlier style, and ‘textile’ have a shared origin in the Latin verb ‘texere’, which means 'Bridge Prop'. in 2015, and was purchased from the artist in 2019. entrance of the building. with its simple form and pierced hollows. The sculpture is on loan from Born in New York, Lijn studied Archeology at the Sorbonne and History to weave, or to fabricate. The words literally become part of the weft Leeds and was acquired by the Leeds Art Fund in 1967. of Art at the École du Louvre, Paris. Her interest in both poetry and and weave of the stonework. Exploring the link between text and Suggesting the interaction of man and machine, the science first led her to create artworks exploring the poetics of science textiles, the piece weaves together conversations about life and learning, The exhibition of this sculpture was supported by work captures an energy and struggle combined and light. Now based in London, Lijn has exhibited internationally and has research and education, people and place. As Lawty explained of her the and has been made with a brutal quality. Constructing it from Ellen Brown, Public Art Project student placement received many awards, notably, the ACE international Artist Fellowship in work: ‘I seek an understated restraint, balance, tension, rhythm: an possible by the provision of insurance through the 11 DAVID MAYNE light-weight glass fibre reinforced polyester partnership with NASA. essential stillness.’ Government Indemnity Scheme. The University GREENER LIVING SPACE (GFRP) had distinct advantages, not of Leeds would like to thank HM Government least that an artwork of this size would for providing Government Indemnity and the KEY have been hugely expensive and heavy Department for Culture, Media and Sport and using traditional stone. This new light- 10 Arts Council England for arranging the indemnity. weight material enabled the successful 2014 ■ SustainableNorth - South Campus Access Route (NSCAR) External 8 11 production of a large-scale relief sculpture Poetry response materials: stainless steel to be installed in a raised location In front of M&SNorth - South Campus Access Route Internal (may involve lifts)relatively easily. In 2016, the sculpture MEET, SIT AND TALK Company Archive was listed Grade II by Historic England as a 12 WOODSLEY ROAD Our conversation has outlasted M&S ARCHIVECOMPANY well-designed and successful piece of public grass, outlasted ground. 16 Leeds-born artist David art utilising modern techniques to enhance a Mayne combines a career streetscape dominated by University buildings. Stones talk and landscape overhears. of large scale public art See for yourself. Sit down commissions and his own CLARENDON ROAD 14 and tell us what you know. studio practice –Parking making for Blue Badge holders only. There are no cross-campus HYDE TERRACE Lie in our scattered company CLARENDON ROAD 6 without warp or weft unravelling, work for galleries and HYDE PLACE Poetry response car routes; please contact the Parking Office on MOORLAND ROAD how to make something new, private clients. His0113 work 343is 5491 or [email protected] for advice and watch our silence grow. in collections throughout the HYDE STREET LYDDON TERRACE MAN-MADE FIBRES material bearing our name, how to pitch it so the rain runs country and he hasSustainable been the Garden Helen Mort, Nylon! Acrylic! Polyester! recipient of awards for both public art Douglas Caster Cultural Fellow SPRINGFIELD MOUNT It was a woman wearing gloves through, bonding art MOUNT PRESTON ST. and science, skin and skein. and gallery work. WildflowerIn 2013 David Meadow took part CLOBERRY STREET and roses who showed us in stone in Make It Up North and won the Outstanding how to spin and weave a fabric Artist Award. He works in metal employing welding and surface grinding CLARENDON PLACE out of the threads of our lives, Linda France Water Fountains how to hold it in our two hands Creative Writing fellow 2016-17 to create texture and quality. His work outside the M&S Company CROMER TERRACE Archive on the Western Campus was commissioned by Groundwork and Marks & Spencer toDefibrillator celebrate their Greener Living Spaces programme, which was funded from the sale of 5p food carrier bags. Through this 7 joint initiative Groundwork and M&S transformed over 100 parks, play areas, and public gardens across the country. The sculpture refects LIFTON PLACE M&S’s rich textile history as well as their early adoption of the 5p levy on plastic bags, a fund which was also used to support this commission. Poetry response 5

ROGER STAGE@ THE DREAMER STEVENS CLOTH Who named me first? BUILDING LEEDS WORKERSSOUTH Who said my stone meant sleep? HUBERT DALWOOD (1924-1976) What distanced me from earth? 12 UNTITLED BAS-RELIEF Who closed my eyes? Who cast my solitude so deep?

UNIVERSITY ROAD My tethers are invisible THORESBY PLACE but cut them and I rise. CEMETERY ROAD 1961 ■ Aluminium – silicon alloy Helen Mort, stage@leeds GREAT GEORGE STREET Douglas Caster Cultural Fellow

MECHANICALBUILDING ENGINEERING Dalwood was born in CLARENDON WAY 1924 in Bristol. He was apprenticed as an engineer to the Bristol Aeroplane Company before FINSBURY ROAD WILLOW TERRACE ROAD serving in the Royal BUILDING MICHAEL SADLER

Navy from 1944-46, BAINES WING CAVENDISH ROAD

returning to study at 15 VERNON 13 Bath Academy under ROAD

Kenneth Armitage. He ST MARK’S AVENUE was awarded an Italian WOODHOUSE LANE Government Scholarship from LAIDLAW PARKINSON BUILDING 1950-51, which he used to work P LIBRARY in a bronze foundry in Milan, later 9 returning to teach at Newport School of Art HILLARY PLACE from 1951-55. Awarded a Gregory Fellowship in 1955, he worked at the University of Leeds until 1959. During this period, WOODHOUSE LANE he was commissioned by a number of universities including Oxford, KEY Manchester and Liverpool. CALVERY STREET 1 to 17 Public Artworks In 1961 Dalwood was commissioned to produce this large aluminium 3 bas relief frieze for the University’s hall of residence, Bodington Hall. 17 Suggested Routes Dalwood used clay worked by hand to form casts which were translated into cast metal abstract NEXUS Water Fountains forms and powerful shapes. WOODHOUSE LANE DISCOVERY WAY Defibrillator LODGE STREET 1 When Bodington was closed, and then demolished in 2013, the work 4 Parking for Blue Badge holders only. There are was stored, cleaned and relocated BLENHEIM TERRACE no cross-campus car routes; please contact to its new site at stage@leeds. the Parking Office on0113 343 5491 or In 2012 Historic England listed the [email protected] for advice work, granting Grade II status, in recognition of the sculptor’s ‘new venture on a wholly different scale and technical complexity to anything he had BLENHEIM WALK previously made’ and its historic interest 2 as an example of public art commissioning by universities during the sixties.

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