Spotlight on… The Line, an outdoor sculpture trail that follows the Greenwich Meridian and runs from the Queen Elizabeth Olympic Park to The 02. It creates an opportunity to explore London’s often ignored waterways and allows the public to enjoy art, nature and heritage for free. It recently celebrated it’s 5th birthday, and following Covid-19 and the lockdown measures, has also adapted quickly by launching The Line Online, enabling access via an interactive virtual map. The new website also showcases collaborations with The British Museum, Getty Images, the National Portrait Gallery, Royal Museums Greenwich and Museum of London, who have all provided fascinating historic images of life along these waterways and the different areas The Line passes through. These include black and white photographs of elephants returning to London’s docks following a touring circus, the construction of the Thames Barrier, and female workers at Bromley by Bow Gas Works having tea. Although the trail route is set, the artworks are regularly refreshed with certain sculptures removed and new pieces added. Current monolithic works include Richard Wilson’s ‘A Slice of Reality’, a vertical section of an ocean sand dredger now situated on the foreshore of the Thames exposing the living quarters and engine room, Joanna Rajkowska’s ‘The Hatchling’, a large scale replica of a blackbird egg complete with the sound of hatching chicks recorded by ornithologists emitting from the egg which acts as a speaker, Abigail Fallis’ ‘DNA DL90’ made from 22 shopping trolleys in the shape of a double-helix, and Antony Gormley’s ‘Quantum Cloud’ comprising 29 x 16 x 10 metres of galvanised steel. Past participating artists include Martin Creed, Damien Hirst, Sterling Ruby, James Balmforth, Eduardo Palozzi and Bill Viola amongst others – and future works are set to come from Rana Begum, Thomas J Price, Anne Hardy, Larry Achiampong and Yinka Ilori. As The Line is outdoors, the public can now safely walk, run or cycle its length responsibly. Moving forwards it will continue to add interest to these often overlooked parts of the city, connect people and place, and support mental and physical wellbeing for those venturing out again after months of lockdown.
The traditional Georgian architecture of Burlington House isn’t an immediately obvious setting for Antony Gormley’s large-scale robust metal sculptures and installations, but it certainly works. The dark wood flooring, panelling and high ceilings act as the perfect backdrop to the works on display throughout the main galleries. It is an exhibition that builds momentum, has pace and conversely moments of calm. The first space you enter contains fourteen horizontal and vertical cubic sculptures – “slabworks” – very typical of Gormley and his abstract exploration of the human form and its relationship with the space around it, but dare I say it… nothing spectacular. As you turn the next corner a lower-ceilinged room is filled with arguably the worlds biggest doodle, a sculpture which dominates the space and is almost bursting its way through the floors, ceilings and connecting doorways. It is quite an experience walking around the 8 kilometres of coiled aluminium tube, taking it all in. Another oversized gallery space houses “Matrix III” created from steel mesh ordinarily used to reinforce concrete, but this time formed into a three dimensional structure which suspends from the ceiling. Despite its weight, it somehow looks light as it floats above visitors who are able to walk below and around it. The adjoining gallery spaces contain sketches and preliminary drawings of these two monumental works alongside other works on paper, and having just viewed them I welcomed understanding the process and mechanics behind them. A room filled with metal human forms either standing, floating horizontally from various walls or hanging upside down from the ceiling, oversized metal fruits suspended from a vaulted ceiling in another space, a monolithic sculpture fills another, and finally a reflective space where the gallery floor is filled with seawater make up the rest of the show. The exhibition is as ambitious as you would hope for from Gormley, and certainly put a spring in my autumnal step!
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I feel I’ve been a little slow on the uptake with summer exhibitions… but so pleased I got to see ‘Found’ at The Foundling Museum last week before it closed on 4th September. Curated by Cornelia Parker, the list of over sixty participating artists’ reads like a who’s who of the contemporary art world including Phyllida Barlow, Mark Wallinger, Richard Wilson, Jeremy Deller, Mona Hatoum, Marin Creed and Gavin Turk amongst others. Inspired by the 18th century tokens mothers left with their babies as a means of identification at the original Foundling Hospital established by the philanthropist Thomas Coram in 1739, all of the artworks within this exhibition are created from found objects kept for their significance. Things get off to a strong start as a trumpeter dressed in typically brightly coloured fabrics by Yinka Shonibare greets visitors in the foyer. A temporary exhibition space in the basement contains over thirty pieces, whilst another fifty are dotted throughout the rest of the building intertwined with the permanent collection and period rooms – and this is where much of the success and indeed joy of the exhibition lies! Moving up the central spiral-stairwell a contemporary painting by Rose Wylie is hung alongside old masters, in the grand Court Room with Rocco ceilings and Hogarth paintings you’ll find Gavin Turks ‘Nomad’ installation of a dirty sleeping bag positioned to echo the shape of a human form sleeping within it, and a small iron sculpture by Anthony Gormley of his own child as a baby is displayed on the floor in a corridor! Despite strong competition from all the artists, I feel the prize for best ‘found’ item should go to Cornelia Parker herself who rescued Jimi Hendrix’s staircase from Handel/Hendrix House in London’s Brook Street following its restoration – and is aptly on display in the basement for this exhibition.
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