Martin Boyce
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
Installation view 'An Inn For Phantoms Of The Outside And In', Mount Stuart, Isle of Bute
An Inn For Phantoms Of The Outside And In, 2019

Galvanised steel, chainlink fencing, mixed aggregate gravel, painted perforated stainless steel, galvanised steel, painted galvanised steel, concrete, felled timber, lime wash emulsion, debris netting, cable ties, steel chain, stainless steel chain
800 x 3450 x 2130 cm

Boyce presented a major outdoor commission in the landscaped grounds of Mount Stuart. Inspired by the memory of a tennis court long since dismantled, his ongoing interest in abandoned and disused spaces is awakened. The court is close to fiction, undocumented, a relic from the 1970’s. The artist reconsiders and recomposes the structure. Connecting with previous works such as the iconic 2002 Tramway installation Our Love is Like the Flowers, the Rain, the Sea and the Hours, Boyce continues his exploration of sites in between use and misuse, intention and subsequent being. His installation for Mount Stuart involves fragments of these landscapes, an abstracted sense of place rather than a literal description: “one place shipwrecked within another”.

“Over the years I’ve photographed a number of abandoned or disused tennis courts and I’ve collected similar images from books or cut from magazines. There is something fascinating about this rectangle of chain link fence that at once demarcates one place from another, one delineated use or activity from another. Equally fascinating is how over time this idea of use can shift, from organised tennis games to more improvised versions of play to, in a state of disrepair, a place to meet and hangout. It is this in between state that interests me. “

The installation, like a skewed container for dreams, sits with its gate open. The artist’s familiar iconographies are staged within, referencing his interests in twentieth century film noir, literature and the built environment. Boyce’s work mirrors the psyche; his work immerses the public in both personal and collective cultural memory.

An Inn For Phantoms Of The Outside And In, 2019

Galvanised steel, chainlink fencing, mixed aggregate gravel, painted perforated stainless steel, galvanised steel, painted galvanised steel, concrete, felled timber, lime wash emulsion, debris netting, cable ties, steel chain, stainless steel chain
800 x 3450 x 2130 cm

Installation view, 37, rue Sainte-Croix-de-la-Bretonnerie, Paris, 2019
Installation view, 37, rue Sainte-Croix-de-la-Bretonnerie, Paris, 2019
Installation view, 37, rue Sainte-Croix-de-la-Bretonnerie, Paris, 2019
A Thousand Future Blossoms (Forest Bed), 2019

Blue Hainaut Limestone
900 x 335 x 12 cm

Commission for Galeries Lafayette

At 37, rue Sainte-Croix-de-la-Bretonnerie, Martin Boyce created the timeless work entitled A Thousand Future Blossoms. Inspired by the cubist trees created by the Martel brothers for the ’1925 International Exhibition of Modern Decorative and Industrial Arts’, Martin Boyce’s work is nurturing the growth of concrete vegetation in the Marais. This hybrid between nature and its artifices is at the core of the artist’s poetry. Martin Boyce draws inspiration from historic motifs in order to grow a graphic forest at the heart of the city. “I developed a pattern, the linear transcription of a tree. I realized by repeating this tree, I was creating a forest, a graphic forest.“

A Thousand Future Blossoms (Forest Bed), 2019

Blue Hainaut Limestone
900 x 335 x 12 cm

Installation view, 37, rue Sainte-Croix-de-la-Bretonnerie, Paris, 2019
Installation view, 37, rue Sainte-Croix-de-la-Bretonnerie, Paris, 2019
Installation view, 37, rue Sainte-Croix-de-la-Bretonnerie, Paris, 2019
Installation view, 37, rue Sainte-Croix-de-la-Bretonnerie, Paris, 2019
Installation view, 37, rue Sainte-Croix-de-la-Bretonnerie, Paris, 2019
A Thousand Future Blossoms (Threshold), 2019 (detail)
A Thousand Future Blossoms (Threshold), 2019 (detail)
A Thousand Future Blossoms (Threshold), 2019

Painted Galvanised Steel
350 x 705 x 12 cm

At 37, rue Sainte-Croix-de-la-Bretonnerie, Martin Boyce created the timeless work entitled A Thousand Future Blossoms. Inspired by the cubist trees created by the Martel brothers for the ’1925 International Exhibition of Modern Decorative and Industrial Arts’, Martin Boyce’s work is nurturing the growth of concrete vegetation in the Marais. This hybrid between nature and its artifices is at the core of the artist’s poetry. Martin Boyce draws inspiration from historic motifs in order to grow a graphic forest at the heart of the city. “I developed a pattern, the linear transcription of a tree. I realized by repeating this tree, I was creating a forest, a graphic forest.“

A Thousand Future Blossoms (Threshold), 2019

Painted Galvanised Steel
350 x 705 x 12 cm

Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Installation view, 'Remembered Skies', Tate Britain, London, 2018
Remembered Skies, 2017

Pre-cast Concrete/stone, Translucent Natural Acrylic Stone, LED Lighting Strips

Commission for Tate Britain linking the main gallery building with the Clore Gallery.

Remembered Skies, 2017

Pre-cast Concrete/stone, Translucent Natural Acrylic Stone, LED Lighting Strips

Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
Installation view, 'All the Gravity, All the Air', Swiss Re, Zurich, 2017
All the Gravity, All the Air, 2017

Reception desk Carrara marble 610 x 110 x 120 cm
Floor Wachenzeller dolomit
Furniture Benches, conference tables, sideboards, coffee tables Various materials and sizes
9 sculptures Concrete, steel reinforcement 500 x 24.5 x 24.5 cm
10 vents Bronze, perforated steel 50 x 25 x 2.5 cm

Commission for Swiss Re

All the Gravity, All the Air, 2017

Installation view, TELUS Garden, Vancouver, 2019
Installation view, TELUS Garden, Vancouver, 2019
Installation view, TELUS Garden, Vancouver, 2019
Installation view, TELUS Garden, Vancouver, 2019
Installation view, TELUS Garden, Vancouver, 2019
Installation view, TELUS Garden, Vancouver, 2019
Installation view, TELUS Garden, Vancouver, 2019
Installation view, TELUS Garden, Vancouver, 2019
Installation view, TELUS Garden, Vancouver, 2019
Beyond the Sea, Against the Sun, 2016

Perforated powder coated stainless steel, galvanised mild steel, stainless steel, stainless steel chain, polycarbonate diffuser panels, LED lighting

TELUS Garden Public Art commission, Vancouver, 2016

Beyond the Sea, Against the Sun, 2016

Perforated powder coated stainless steel, galvanised mild steel, stainless steel, stainless steel chain, polycarbonate diffuser panels, LED lighting

Concrete Table, 2016, Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016, Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016, Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016, Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016, Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016, Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016, Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016 (detail), Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016 (detail), Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016 (detail), Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table, 2016 (detail), Concrete and painted steel, 76.5 x 260 x 127 cm
Untitled, 2017, Concrete and painted steel, 76.5 x 260 x 127 cm
Untitled, 2017, Concrete and painted steel, 76.5 x 260 x 127 cm
Concrete Table I, 2008, Light-weight concrete, ground and polished, 76 x 262 x 108 cm
Concrete Table I, 2008, Light-weight concrete, ground and polished, 76 x 262 x 108 cm
Concrete Table, 2019

Concrete Table, 2019

Installation view ‘Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language’, Eva Presenhuber, Zurich, 2015
Installation view ‘Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language’, Eva Presenhuber, Zurich, 2015
Installation view ‘Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language’, Eva Presenhuber, Zurich, 2015
Installation view ‘Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language’, Eva Presenhuber, Zurich, 2015
Installation view ‘Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language’, Eva Presenhuber, Zurich, 2015
Installation view, Gasträume, Zurich, 2016
Installation view, Gasträume, Zurich, 2016
Installation view, Gasträume, Zurich, 2016
Installation view, Gasträume, Zurich, 2016
Installation view, Gasträume, Zurich, 2016
Installation view, Gasträume, Zurich, 2016
While on the Roof (7), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 311 x 134 x 175 cm, 122.4 x 52.8 x 68.9 in
While on the Roof (7), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 311 x 134 x 175 cm, 122.4 x 52.8 x 68.9 in
While on the Roof (7), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 311 x 134 x 175 cm, 122.4 x 52.8 x 68.9 in
While on the Roof (7), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 311 x 134 x 175 cm, 122.4 x 52.8 x 68.9 in
While on the Roof (10), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 290 x 135 x 100 cm, 114.2 x 53.1 x 39.4 in
While on the Roof (10), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 290 x 135 x 100 cm, 114.2 x 53.1 x 39.4 in
While on the Roof (10), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 290 x 135 x 100 cm, 114.2 x 53.1 x 39.4 in
While on the Roof (10), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 290 x 135 x 100 cm, 114.2 x 53.1 x 39.4 in
While on the Roof (11), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 345 x 118 x 93 cm, 135.8 x 46.5 x 36.6 in
While on the Roof (11), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 345 x 118 x 93 cm, 135.8 x 46.5 x 36.6 in
While on the Roof (11), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 345 x 118 x 93 cm, 135.8 x 46.5 x 36.6 in
While on the Roof (11), 2015, Jesmonite, galvanised steel, aluminium, ciment fondu and ply wood, 345 x 118 x 93 cm, 135.8 x 46.5 x 36.6 in
While on the Roof

While on the Roof

Installation view, ‘We Are Shipwrecked and Landlocked’, RMIT University Alumni Courtyard, Melbourne, 2008
Installation view, ‘We Are Shipwrecked and Landlocked’, RMIT University Alumni Courtyard, Melbourne, 2008
Installation view, ‘We Are Shipwrecked and Landlocked’, RMIT University Alumni Courtyard, Melbourne, 2008
Installation view, ‘We Are Shipwrecked and Landlocked’, RMIT University Alumni Courtyard, Melbourne, 2008
Installation view, ‘We Are Shipwrecked and Landlocked’, RMIT University Alumni Courtyard, Melbourne, 2008
Installation view, ‘We Are Shipwrecked and Landlocked’, RMIT University Alumni Courtyard, Melbourne, 2008
Installation view, ‘We Are Shipwrecked and Landlocked’, RMIT University Alumni Courtyard, Melbourne, 2008
We Are Shipwrecked and Landlocked, 2008 (detail)
We Are Shipwrecked and Landlocked, 2008 (detail)
We Are Shipwrecked and Landlocked, 2008 (detail)
We Are Shipwrecked and Landlocked, 2008 (detail)
We Are Shipwrecked and Landlocked, 2008 (detail)
We Are Shipwrecked and Landlocked, 2008 (detail)
We are Shipwrecked and Landlocked, 2008

Painted aluminium and painted copper
Fence: 400 x 1800 x 1500 cm,157.5 x 708.7 x 590.6 in Trees: 800 x 265 x 265 cm, 315 x 104.3 x 104.3 in Bins: 80 x 65 x 47.5 cm, 31.5 x 25.6 x 18.7 in Overall: dimensions variable

We are Shipwrecked and Landlocked, 2008

Painted aluminium and painted copper
Fence: 400 x 1800 x 1500 cm,157.5 x 708.7 x 590.6 in Trees: 800 x 265 x 265 cm, 315 x 104.3 x 104.3 in Bins: 80 x 65 x 47.5 cm, 31.5 x 25.6 x 18.7 in Overall: dimensions variable

Beyond the Whispering of Leaves and Illuminated Wood Fern, 2009

Concrete, stainless steel, lighting components
Part 1: 180 x 103.5 x 207 cm Parts 2 and 3: 180 x 103.5 x 103.5 cm

Beyond the Whispering of Leaves and Illuminated Wood Fern, 2009

Concrete, stainless steel, lighting components
Part 1: 180 x 103.5 x 207 cm Parts 2 and 3: 180 x 103.5 x 103.5 cm

Jeremy Deller
Installation view, The Modern Institute, 3 Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, 3 Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, 3 Aird's Lane, Glasgow, 2019
Built by Immigrants, 2019

79.5 x 123.5 x 1.7 cm

Built by Immigrants, 2019

79.5 x 123.5 x 1.7 cm

Chameleon Slide, 2016

Maquette
Dimensions Variable

Chameleon Slide, 2016

Maquette
Dimensions Variable

Installation view, Swansea, 2014
Installation view, Swansea, 2014
Installation view, Swansea, 2014
Installation view, Swansea, 2014
Installation view, Swansea, 2014
Installation view, Swansea, 2014
Installation view, Swansea, 2014
More Poetry Is Needed, 2014

Wall painting
900 x 1400 cm

More Poetry Is Needed, 2014

Wall painting
900 x 1400 cm

Installation view, Southend, Essex, 2012
Installation view, Southend, Essex, 2012
Installation view, Southend, Essex, 2012
Installation view, Southend, Essex, 2012
Installation view, Southend, Essex, 2012
Installation view, Greenwich, London, 2012
Installation view, Greenwich, London, 2012
Installation view, Greenwich, London, 2012
Installation view, Greenwich, London, 2012
Installation view, Glasgow Green, Glasgow, 2012 (part of Glasgow International, 2012)
Installation view, Glasgow Green, Glasgow, 2012 (part of Glasgow International, 2012)
Installation view, Glasgow Green, Glasgow, 2012 (part of Glasgow International, 2012)
Installation view, Glasgow Green, Glasgow, 2012 (part of Glasgow International, 2012)
Installation view, Glasgow Green, Glasgow, 2012 (part of Glasgow International, 2012)
Installation view, Glasgow Green, Glasgow, 2012 (part of Glasgow International, 2012)
Installation view, Yorkshire Sculpture Park, Wakefield, 2012
Installation view, Yorkshire Sculpture Park, Wakefield, 2012
Sacrilege, 2012

Mixed media
Dimensions variable

Situated on Glasgow Green, Sacrilege was revealed as a full-scale, inflatable replica of Stonehenge, one of the UK’s most recognisable heritage sites. The ambitious new sculptural installation in the form of a magnificent bouncy castle is characteristic of Deller’s on-going exploration of contemporary culture and continues the Festival’s commitment to presenting engaging works in the public realm. Sacrilege is Deller’s first major public project in Scotland and has been commissioned by GI Festival 2012 in collaboration with the Mayor of London and with investment from Creative Scotland. With funding from Arts Council England Sacrilege will also travel to different locations in the UK this June, before being shown in London this summer as part of CREATE and the London 2012 festival.

Sacrilege, 2012

Mixed media
Dimensions variable

Valerie’s Snack Bar, 2009, Replica cafe, 274 x 366 x 610 cm
Valerie’s Snack Bar, 2009, Replica cafe, 274 x 366 x 610 cm
Valerie’s Snack Bar, 2009, Replica cafe, 274 x 366 x 610 cm
Unrepentent Smokers, 2009, Banner made by Ed Hall, 200 x 120 cm, 78.7 x 47.2 in
Unrepentent Smokers, 2009, Banner made by Ed Hall, 200 x 120 cm, 78.7 x 47.2 in
Carnival Queens, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Carnival Queens, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Ramble On, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
Ramble On, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
Working not Begging, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
Working not Begging, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
Cathedral Gardens Saturday Afternoon, Rain or Shine, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
Cathedral Gardens Saturday Afternoon, Rain or Shine, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
The Last of the Industrial Revolution, 2009, Banner made by Ed Hall, 175 x 128 cm, 68.9 x 50.4 in
The Last of the Industrial Revolution, 2009, Banner made by Ed Hall, 175 x 128 cm, 68.9 x 50.4 in
We miss the world of Twist, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
We miss the world of Twist, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Lest We Forget, 2009, Banner made by Ed Hall, 133 x 181 cm, 52.4 x 71.3 in
Lest We Forget, 2009, Banner made by Ed Hall, 133 x 181 cm, 52.4 x 71.3 in
Our Ancestors were at Peterloo, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Our Ancestors were at Peterloo, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Remember Ian Tomlinson, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Remember Ian Tomlinson, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
You're Rendering that Scaffolding Dangerous, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
You're Rendering that Scaffolding Dangerous, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Smoking Kills, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Smoking Kills, 2009, Banner made by Ed Hall, 120 x 200 cm, 47.2 x 78.7 in
Rose Queen, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
Rose Queen, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
The Adoration of the Chip, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
The Adoration of the Chip, 2009, Banner made by Ed Hall, 182 x 152 cm, 71.7 x 59.8 in
16th Aug 1819 Stalybridge Old Band, 2009, Banner made by Ed Hall, 182 x 182 cm, 71.7 x 71.7 in
16th Aug 1819 Stalybridge Old Band, 2009, Banner made by Ed Hall, 182 x 182 cm, 71.7 x 71.7 in
Procession, 2009

Replica cafe, 18 banners, film screened on TV
Dimensions Variable

'I like what has happened in Manchester – historically, politically, musically – and I’ve always enjoyed being there, so when I was asked to make a public artwork for Manchester International Festival in 2009, I assembled a procession of the city’s people and their activities. It was mostly a celebration of public space and the people occupying it: buskers, smokers, car modifiers, The Big Issue sellers and so on. One of the elements was Valerie’s Snack Bar, this café in Bury Market, which just seemed to be a great gathering place for OAPs, the snack bar was almost exactly replicated and put on the back of a lorry and taken for a spin. As with any procession, there are lots of contradictory elements: some are traditional, others are contemporary or even futuristic. I wanted in a way to try and make something a bit like a procession you would see on The Simpsons, a sort of social surrealist event full of bizarre, funny, wrong-seeming things.'

Jeremy Deller

Procession, 2009

Replica cafe, 18 banners, film screened on TV
Dimensions Variable

Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Installation view, Richborough Power Station, Sandwich, Kent, 2006
Steam Powered Internet Machine, 2006

Boiler, Apple Mac computer
Dimensions Variable

Steam Powered Internet Machine, 2006

Boiler, Apple Mac computer
Dimensions Variable

Installation view, 'Joy In People', Hayward Gallery, London, 2012
Installation view, 'Joy In People', Hayward Gallery, London, 2012
Installation view, 'Joy In People', Hayward Gallery, London, 2012
Brian Epstein Died For You, 1994

Painted aluminium sign
40 x 60 cm

Brian Epstein Died For You, 1994

Painted aluminium sign
40 x 60 cm

Urs Fischer
Installation view, '∞', The Modern Institute, Osborne Street, Glasgow, 2015
Installation view, '∞', The Modern Institute, Osborne Street, Glasgow, 2015
Installation view, '∞', The Modern Institute, Osborne Street, Glasgow, 2015
Installation view, '∞', The Modern Institute, Osborne Street, Glasgow, 2015
Installation view, '∞', The Modern Institute, Osborne Street, Glasgow, 2015
Aus dem Leben eines Tugenichts (Of the Life of a Good-for-Nothing), 2015 (detail), Cast bronze, 147 x 1451 x 23cm, 60.5 x 610 x 9.8 in, Edition of 2 + 1 AP
Aus dem Leben eines Tugenichts (Of the Life of a Good-for-Nothing), 2015 (detail), Cast bronze, 147 x 1451 x 23cm, 60.5 x 610 x 9.8 in, Edition of 2 + 1 AP
Installation view, '∞', The Modern Institute, Osborne Street, Glasgow, 2015
Installation view, '∞', The Modern Institute, Osborne Street, Glasgow, 2015
Aus dem Leben eines Tugenichts (Of the Life of a Good-for-Nothing), 2015

Cast bronze
147 x 1451 x 23cm

Ed. 2 of 2 + 1 AP

Aus dem Leben eines Tugenichts (Of the Life of a Good-for-Nothing), 2015

Cast bronze
147 x 1451 x 23cm

Installation view, ‘In Florence’, Piazza dei Signora, Florence, 2017
Installation view, ‘In Florence’, Piazza dei Signora, Florence, 2017
Installation view, ‘In Florence’, Piazza dei Signora, Florence, 2017
Installation view, ‘In Florence’, Piazza dei Signora, Florence, 2017
Installation view, ‘In Florence’, Piazza dei Signora, Florence, 2017
Installation view, ‘In Florence’, Piazza dei Signora, Florence, 2017
Installation view, ‘In Florence’, Piazza dei Signora, Florence, 2017
Big Clay #4, 2013

Big Clay #4, 2013

Henrik Håkansson
A Tree Reflected (Malus sylvestris), 2018

Crab apple tree, glass, metal
700 x 700 cm

A seven-metre tall mirror construction encircles a tree. In time, the crab apple will grow larger and the branches will meander along the glass and eventually merge with the strict framework. The artwork stands among stately oaks at the Botanical institution in the university area of Frescati on the island of Djurgården in Stockholm. In the nearby buildings, students are learning about botany, the doctrine of the plant kingdom, which is reflected in Henrik Håkansson’s multifaceted work A Tree Reflected (Malus sylvestris). The tall glass construction circles the trunk of the crab apple tree and extends in four directions. The glass is laminated and partly transparent, partly reflective, depending on the position of the viewer and the time of day and weather conditions. The yellow autumn leaves and the apple bloom will appear in different layers through the reflections of the glass. In time the tree will merge with the walls. Measuring 7 x 7 metres, this gigantic work creates an interesting interplay with the surrounding park and the large oaks. It also displays consideration for the fauna; the thin, horizontal lines along the glass prevent small birds from colliding with it

A Tree Reflected (Malus sylvestris), 2018

Crab apple tree, glass, metal
700 x 700 cm

Henrik Håkansson, The Reserve (001), 2009, galvanized steel fence, 500 x 500 cm
Henrik Håkansson, The Reserve (001), 2009, galvanized steel fence, 500 x 500 cm
Henrik Håkansson, The Reserve (001), 2009, galvanized steel fence, 500 x 500 cm
The Reserve (001), 2009

galvanized steel fence
500 x 500 cm

Henrik Håkansson’s artworks often begin with the unique flora and fauna of the site; at Wanås, he enclosed a 2,500 square metre area with a chain link fence. Neither visitors, artists, park attendants, nor animals can access this area. The Reserve (001) becomes an autonomous island in the existing landscape. He thereby makes it possible for the area to develop on its own for the foreseeable future, offering a contrast to the surrounding nature.

The Reserve (001), 2009

galvanized steel fence
500 x 500 cm

Mark Handforth
Proposed Outdoor Works
Proposed Outdoor Works
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Asphalt Snake, 2018 (detail), Aluminium and polyurethane paint, 292.1 x 139.7 x 61 cm, 115 x 55 x 24 in
Asphalt Snake, 2018 (detail), Aluminium and polyurethane paint, 292.1 x 139.7 x 61 cm, 115 x 55 x 24 in
Asphalt Snake, 2018

Aluminium and polyurethane paint
292.1 x 139.7 x 61 cm

Mark Handforth’s most recent exhibition at The Modern Institute in 2018 included five new sculptural forms within the Osborne Street gallery space, which developed from the idea of the garden, and in particular, Handforth’s own tropical garden in Miami. Central to the exhibition was two large sculptural pieces – ‘Jade Garden’ and ‘Asphalt Snake’ – which resemble oversized, crumpled and chopped pipes – anthropomorphic in form they search for a point of balance.

Asphalt Snake, 2018

Aluminium and polyurethane paint
292.1 x 139.7 x 61 cm

Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Installation view, The Modern Institute, Osborne Street, Glasgow, 2018
Jade Garden, 2018

Aluminium and polyurethane paint
243.8 x 152.4 x 55.9 cm

Mark Handforth’s most recent exhibition at The Modern Institute in 2018 included five new sculptural forms within the Osborne Street gallery space, which developed from the idea of the garden, and in particular, Handforth’s own tropical garden in Miami. Central to the exhibition was two large sculptural pieces – ‘Jade Garden’ and ‘Asphalt Snake’ – which resemble oversized, crumpled and chopped pipes – anthropomorphic in form they search for a point of balance.

Jade Garden, 2018

Aluminium and polyurethane paint
243.8 x 152.4 x 55.9 cm

Installation view Institute of Contemporary Art, Miami, 2017
Installation view Institute of Contemporary Art, Miami, 2017
Installation view Institute of Contemporary Art, Miami, 2017
Installation view Institute of Contemporary Art, Miami, 2017
Installation view Institute of Contemporary Art, Miami, 2017
Installation view Institute of Contemporary Art, Miami, 2017
Installation view Institute of Contemporary Art, Miami, 2017
Dr. Pepper, 2017

Aluminum, stainless steel, enamel paint, fluorescent aquarium lamps, color gels and waterproof light fixtures

Dr. Pepper, 2017

Aluminum, stainless steel, enamel paint, fluorescent aquarium lamps, color gels and waterproof light fixtures

Installation view ‘Snow White and Pink Panther’, Galerie Eva Presenhuber, 2016
Installation view ‘Snow White and Pink Panther’, Galerie Eva Presenhuber, 2016
Installation view ‘Snow White and Pink Panther’, Galerie Eva Presenhuber, 2016
Installation view ‘Snow White and Pink Panther’, Galerie Eva Presenhuber, 2016
Installation view ‘Snow White and Pink Panther’, Galerie Eva Presenhuber, 2016
Installation view ‘Snow White and Pink Panther’, Galerie Eva Presenhuber, 2016
Installation view ‘Snow White and Pink Panther’, Galerie Eva Presenhuber, 2016
Pink Panther, 2016

Painted aluminium
305 x 176 x 121 cm

Pink Panther, an aluminium pipe has been bent by sheer force exerted onto it, until the pipe finally succumbed to the pressure. Yet this supposed act of destruction has resulted in a form, an inevitable star. Aloof and balanced on one leg, Pink Panther stands apart with absurd poise. Its rather strange matte pink colour (itself the counterintuitive camouflage paint devised by the British for desert ops, and which gives the sculpture its title) is as theatrical as it is self-effacing.

Pink Panther, 2016

Painted aluminium
305 x 176 x 121 cm

Installation view 'Snow White and Pink Panther', Galerie Eva Presenhuber, 2016
Installation view 'Snow White and Pink Panther', Galerie Eva Presenhuber, 2016
Installation view 'Snow White and Pink Panther', Galerie Eva Presenhuber, 2016
Installation view 'Snow White and Pink Panther', Galerie Eva Presenhuber, 2016
Installation view 'Snow White and Pink Panther', Galerie Eva Presenhuber, 2016
Installation view 'Snow White and Pink Panther', Galerie Eva Presenhuber, 2016
Installation view 'Snow White and Pink Panther', Galerie Eva Presenhuber, 2016
Snow White, 2016

Aluminium, painted
284.5 x 305 x 127 cm

Snow White is a monumental white star, constructed from folded aluminium and painted to reflect light and absorb shadow. It is equal parts unhinged signage, dislocated symbol and artefact of humanity. Stars, as we see them in the night sky, are just endless lines of pulsing light radiating out indefinitely, energetic beginnings with no end in sight.

Snow White, 2016

Aluminium, painted
284.5 x 305 x 127 cm

Installation view 'The Excentric Circle’, The Modern Institute, Aird’s Lane Green Space, 2015
Installation view 'The Excentric Circle’, The Modern Institute, Aird’s Lane Green Space, 2015
Installation view 'The Excentric Circle’, The Modern Institute, Aird’s Lane Green Space, 2015
Zig-zag bench, 2015

Oak, stainless steel
2 parts 88 x 365 x 66 cm; 88 x 245 x 66 cm

Zig-zag bench, 2015

Oak, stainless steel
2 parts 88 x 365 x 66 cm; 88 x 245 x 66 cm

Installation view 'The Excentric Circle’, The Modern Institute, Aird’s Lane Green Space, 2015
Installation view 'The Excentric Circle’, The Modern Institute, Aird’s Lane Green Space, 2015
Installation view 'The Excentric Circle’, The Modern Institute, Aird’s Lane Green Space, 2015
Installation view 'The Excentric Circle’, The Modern Institute, Aird’s Lane Green Space, 2015
Installation view 'The Excentric Circle’, The Modern Institute, Aird’s Lane Green Space, 2015
The Twist, 2015

Aluminium, polyurethane, paint
655.32 cm high

Like an errant maypole, The Twist, a gestural totem for this little green urban island, is a knotted, painted aluminium rod, which arcs and crumples its way to a height of six and a half meters. This anthropomorphised metal pipe, slowly bending, curving, blushing, twisting and tying itself in knots it becomes something like another body on the green; fleshing itself out, both ethereal and grounded.

The Twist, 2015

Aluminium, polyurethane, paint
655.32 cm high

Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Saffron Star, 2013

Painted aluminium
330.2 x 317.5 x 127 cm

Saffron Star, 2013

Painted aluminium
330.2 x 317.5 x 127 cm

Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Weeping Hydrant, 2013

Cast iron
70 x 88 x 63 cm

Weeping Hydrant, 2013

Cast iron
70 x 88 x 63 cm

Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Yankee Hanger, 2013

Painted steel and aluminum
1341.1 x 487.7 x 365.8 cm

Yankee Hanger, 2013

Painted steel and aluminum
1341.1 x 487.7 x 365.8 cm

Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Installation view ‘Sidewalk Island’, Governor's Island, New York, 2014
Painted Phone, 2013

Aluminum, bronze and stainless steel
762 x 121.9 x 61 cm

Painted Phone, 2013

Aluminum, bronze and stainless steel
762 x 121.9 x 61 cm

Installation view, CASS Sculpture Foundation, 2015
Installation view, CASS Sculpture Foundation, 2015
Installation view, CASS Sculpture Foundation, 2015
Installation view, CASS Sculpture Foundation, 2015
Installation view, CASS Sculpture Foundation, 2015
Installation view, CASS Sculpture Foundation, 2015
Installation view, CASS Sculpture Foundation, 2015
Two Old Bananas, 2013

Cast aluminum
3 parts, 305 x 217 x 180 cm

Cast in aluminium, the eponymous two bananas lean against each other. The viewers actively become part of the work, their bodies dwarfed by the sheer magnitude over three meters high of the shimmering metal fruit. Mark Handforth refers to late twentieth century art movements such as Minimal Art and Pop Art as languages that he has learned to speak, and he is grateful to be able to switch between several languages in one and the same sentence.

Two Old Bananas, 2013

Cast aluminum
3 parts, 305 x 217 x 180 cm

SEAL, 2012

Cast bronze, internal steel structure, concrete plinth
178 x 157.5 x 123 cm

SEAL, 2012

Cast bronze, internal steel structure, concrete plinth
178 x 157.5 x 123 cm

Installation view, Place de la Porte de Bagnolet, Paris, 2012
Installation view, Place de la Porte de Bagnolet, Paris, 2012
Installation view, Place de la Porte de Bagnolet, Paris, 2012
Installation view, Place de la Porte de Bagnolet, Paris, 2012
Installation view, Place de la Porte de Bagnolet, Paris, 2012
L'Etoile de Bagnolet, 2012

L'Etoile de Bagnolet
1805.9 cm high

L'Etoile de Bagnolet, 2012

L'Etoile de Bagnolet
1805.9 cm high

Installation view, Museum of Contemporary Art, Chicago, 2011
Installation view, Museum of Contemporary Art, Chicago, 2011
Installation view, Museum of Contemporary Art, Chicago, 2011
Installation view, Museum of Contemporary Art, Chicago, 2011
Installation view, Museum of Contemporary Art, Chicago, 2011
Lamppostsnake, 2011

Steel, paint and lamp head
518 x 396 x 304 cm

Lamppostsnake, 2011

Steel, paint and lamp head
518 x 396 x 304 cm

Installation view 'Drop Shadow', Studio des Acacias, Paris, 2014
Installation view 'Drop Shadow', Studio des Acacias, Paris, 2014
Installation view 'Drop Shadow', Studio des Acacias, Paris, 2014
Exterior view 'Rolling Stop', Museum of Contemporary Art, North Miami, 2011
Exterior view 'Rolling Stop', Museum of Contemporary Art, North Miami, 2011
Exterior view 'Rolling Stop', Museum of Contemporary Art, North Miami, 2011
Exterior view 'Rolling Stop', Museum of Contemporary Art, North Miami, 2011
Weeping Moon, 2010

Neon
580 x 140 x 3 cm

Weeping Moon, 2010

Neon
580 x 140 x 3 cm

Georg Herold
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Installation view, Kreuzgang Münster Basel, Basel, 2018
Kreuzgang Münster Basel, 2018

Kreuzgang Münster Basel, 2018

Thomas Houseago
Death Mask I (Carved Base), 2015

Bronze
215.9 x 63.5 x 50.8 cm

Edition of 3 + 2 AP

Death Mask I (Carved Base), 2015

Bronze
215.9 x 63.5 x 50.8 cm

Big Head (Dancing Devil), 2015

Bronze
228.6 x 102.9 x 62.2 cm

Ed. of 3 + 2 AP

Big Head (Dancing Devil), 2015

Bronze
228.6 x 102.9 x 62.2 cm

Standing Figure (Roman Figure I), 2013

Bronze
358.1 x 160 x 132.1 cm

Edition of 3 plus 2 artist's proofs

Standing Figure (Roman Figure I), 2013

Bronze
358.1 x 160 x 132.1 cm

Reclining Figure (For Rome), 2013

Bronze
46.4 x 375.9 x 172.7 cm

Edition of 3 plus 2 artist's proofs

Reclining Figure (For Rome), 2013

Bronze
46.4 x 375.9 x 172.7 cm

Installation view, 'Thomas Houseago: The Beat of the Show', Inverleith House, Edinburgh, 2012
Installation view, 'Thomas Houseago: The Beat of the Show', Inverleith House, Edinburgh, 2012
Installation view, 'Thomas Houseago: The Beat of the Show', Inverleith House, Edinburgh, 2012
A shatteringly present past, 2021, Ceramic, paint, graphite powder, 106 x 202 x 71 cm, 41 3/4 x 79 1/2 x 28 in
A shatteringly present past, 2021, Ceramic, paint, graphite powder, 106 x 202 x 71 cm, 41 3/4 x 79 1/2 x 28 in
Lying Figure (Mother Father), 2011

Bronze
122 x 124 x 457 cm

Ed. of 3 + 2 AP

Lying Figure (Mother Father), 2011

Bronze
122 x 124 x 457 cm

Jim Lambie
Installation view ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong, 2018
Installation view ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong, 2018
Installation view ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong, 2018
Installation view ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong, 2018
Installation view ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong, 2018
Installation view ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong, 2018
Installation view ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong, 2018
Spiral Scratch, 2018

Wooden ladders, mirrors, household matt, gloss, fluorescent paint, concrete plinths
Dimensions Variable

The luminous-coloured ladders stretch towards the ceiling at angles that recall their functionality. Yet here these commonplace objects have deliberately been stripped of all utility by mirrors installed between the rungs. The combination results in a kaleidoscopic interaction of colour, shape and form that beguiles the viewer with its familiarity, while intriguing them with its reversal. “Spiral Scratch deliberately looks to change the space it occupies, redirecting the rhythm and psychological dynamics in much the same way putting a record can. As the black and white floor-work swells through Garden Court the space grows and shrinks, pulling the viewer through the space, only for the ladders to demand attention by showing new perspectives in their unexpected reflections,” said Jim Lambie.

Spiral Scratch, 2018

Wooden ladders, mirrors, household matt, gloss, fluorescent paint, concrete plinths
Dimensions Variable

Installation view, Barrowland Park, Glasgow, 2014
Installation view, Barrowland Park, Glasgow, 2014
Installation view, Barrowland Park, Glasgow, 2014
Installation view, Barrowland Park, Glasgow, 2014
Installation view, Barrowland Park, Glasgow, 2014
Untitled, 2014

Coloured concrete
1030 x 300 cm

Jim Lambie has included every band which played at the Barrowland between 1983 and 2013 in 'Untitled' as part of the commission for the brands for the Glasgow 2014 Cultural Programme. Lambie said: “I was delighted to be asked to create a new work for the existing gap site at Trongate. In homage to the Barrowland ballroom and local market being such an iconic part of Glasgow, it makes perfect sense for the area and the local community for a pathway to be introduced which would wind its way through the new, temporary parkland. The pathway resembles the side view of a vinyl record collection, placed on a shelf at home and is similar to the rows of vinyl records I would scour on my visits to the Barra’s market. It is an image familiar to most people, and an image which connects both conceptually and emotionally with the Barrowland Ballroom, the Barra’s market and most importantly the local community and the people of Glasgow.”

Untitled, 2014

Coloured concrete
1030 x 300 cm

Installation view, 'A Forest', Jupiter Artland, Edinburgh, 2010
Installation view, 'A Forest', Jupiter Artland, Edinburgh, 2010
Installation view, 'A Forest', Jupiter Artland, Edinburgh, 2010
Installation view, 'A Forest', Jupiter Artland, Edinburgh, 2010
Installation view, 'A Forest', Jupiter Artland, Edinburgh, 2010
Installation view, 'A Forest', Jupiter Artland, Edinburgh, 2010
Installation view, 'A Forest', Jupiter Artland, Edinburgh, 2010
A Forest, 2010

Polished steel sheets, gloss paint and fluorescent paint
Dimensions variable

A Forest, 2010

Polished steel sheets, gloss paint and fluorescent paint
Dimensions variable

Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Installation view, 'Secret Affair', Inverleith House, Royal Botanic Garden, Edinburgh, 2008
Secret Affair, 2008

Stainless steel
Dimensions Variable

Secret Affair, 2008

Stainless steel
Dimensions Variable

Liz Larner
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
X, 2013

Mirror polished cast stainless steel
138.7 x 303.4 x 238.8 cm, 54 5/8 x 119 7/16 x 94 inches

X, 2013

Mirror polished cast stainless steel
138.7 x 303.4 x 238.8 cm, 54 5/8 x 119 7/16 x 94 inches

Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
Installation view, Art, Bluhm Family Terrace, Institute of Chicago, Chicago, 2015
6, 2010

Polyurethane on stainless steel
24.5 x 238.8 x 180.3 cm, 49 x 94 x 71 inches

6, 2010

Polyurethane on stainless steel
24.5 x 238.8 x 180.3 cm, 49 x 94 x 71 inches

Toby Paterson
Installation view. 'Against Time', Civic Room, Glasgow, 2018
Installation view. 'Against Time', Civic Room, Glasgow, 2018
Installation view. 'Against Time', Civic Room, Glasgow, 2018
Installation view. 'Against Time', Civic Room, Glasgow, 2018
Installation view. 'Against Time', Civic Room, Glasgow, 2018
Installation view. 'Against Time', Civic Room, Glasgow, 2018
Installation view. 'Against Time', Civic Room, Glasgow, 2018
Palisades, 2018

Painted steel
Dimensions variable

Palisades, 2018

Painted steel
Dimensions variable

Installation view, BBC Scotland Headquarters, Pacific Quay, Glasgow
Installation view, BBC Scotland Headquarters, Pacific Quay, Glasgow
Installation view, BBC Scotland Headquarters, Pacific Quay, Glasgow
Installation view, BBC Scotland Headquarters, Pacific Quay, Glasgow
Installation view, BBC Scotland Headquarters, Pacific Quay, Glasgow
Installation view, BBC Scotland Headquarters, Pacific Quay, Glasgow
Installation view, BBC Scotland Headquarters, Pacific Quay, Glasgow
Poised Array, 2007

Steel, grp, plywood, two-pack paint
Dimensions variable

Commission for BBC Scotland

Poised Array, 2007

Steel, grp, plywood, two-pack paint
Dimensions variable

Toby Paterson 
Powder Blue Orthogonal Pavilion, 2008
Kerto plywood, exterior paint and steel
1200 x 1200 x 300 cm

Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Toby Paterson 
Powder Blue Orthogonal Pavilion, 2008
Kerto plywood, exterior paint and steel
1200 x 1200 x 300 cm

Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Toby Paterson Powder Blue Orthogonal Pavilion, 2008 Kerto plywood, exterior paint and steel 1200 x 1200 x 300 cm Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Toby Paterson 
Powder Blue Orthogonal Pavilion, 2008
Kerto plywood, exterior paint and steel
1200 x 1200 x 300 cm

Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Toby Paterson Powder Blue Orthogonal Pavilion, 2008 Kerto plywood, exterior paint and steel 1200 x 1200 x 300 cm Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Toby Paterson 
Powder Blue Orthogonal Pavilion, 2008
Kerto plywood, exterior paint and steel
1200 x 1200 x 300 cm

Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Toby Paterson Powder Blue Orthogonal Pavilion, 2008 Kerto plywood, exterior paint and steel 1200 x 1200 x 300 cm Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Toby Paterson 
Powder Blue Orthogonal Pavilion, 2008
Kerto plywood, exterior paint and steel
1200 x 1200 x 300 cm

Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Toby Paterson Powder Blue Orthogonal Pavilion, 2008 Kerto plywood, exterior paint and steel 1200 x 1200 x 300 cm Installation view 'Powder Blue Orthogonal Pavilion', Potters Fields Park, Southwark, London, 2008
Powder Blue Orthogonal Pavilion, 2008

Kerto plywood, exterior paint and steel
1200 x 1200 x 300 cm

Powder Blue Orthogonal Pavilion, 2008

Kerto plywood, exterior paint and steel
1200 x 1200 x 300 cm

Nicolas Party
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Installation view, 'Marble Ghosts', Marble House, Newport, 2019
Head, 2019

Acrylic and Oils on Fiberglass and Styrofoam
290 x 135 x 170 cm

Head, 2019

Acrylic and Oils on Fiberglass and Styrofoam
290 x 135 x 170 cm

Installation view, 'Arches', M WOODS, Beijing, 2018
Installation view, 'Arches', M WOODS, Beijing, 2018
Installation view, 'Arches', M WOODS, Beijing, 2018
Large Cat, 2018

Bronze
225 x 185 x 125 cm

Ed. of 3 + 2 AP

Large Cat, 2018

Bronze
225 x 185 x 125 cm

Installation view, ‘Head’, The Modern Institute, Aird's Lane Green Space, 2018
Installation view, ‘Head’, The Modern Institute, Aird's Lane Green Space, 2018
Installation view, ‘Head’, The Modern Institute, Aird's Lane Green Space, 2018
Installation view, ‘Head’, The Modern Institute, Aird's Lane Green Space, 2018
Installation view, ‘Head’, The Modern Institute, Aird's Lane Green Space, 2018
Installation view, ‘Head’, The Modern Institute, Aird's Lane Green Space, 2018
Installation view, ‘Head’, The Modern Institute, Aird's Lane Green Space, 2018
Head, 2018

Painted fibreglass
300 x 140 cm

Head, 2018

Painted fibreglass
300 x 140 cm

Installation view, 157 Days of Sunshine, The Bothy Project at the Walled Garden, Glasgow, 2013
Installation view, 157 Days of Sunshine, The Bothy Project at the Walled Garden, Glasgow, 2013
Installation view, 157 Days of Sunshine, The Bothy Project at the Walled Garden, Glasgow, 2013
Landscape, 2013 (detail), Spray paint on wall, 600 x 3000 cm approx
Landscape, 2013 (detail), Spray paint on wall, 600 x 3000 cm approx
Landscape, 2013 (detail), Spray paint on wall, 600 x 3000 cm approx
Landscape, 2013 (detail), Spray paint on wall, 600 x 3000 cm approx
Landscape, 2013 (detail), Spray paint on wall, 600 x 3000 cm approx
Landscape, 2013 (detail), Spray paint on wall, 600 x 3000 cm approx
Landscape, 2013 (detail), Spray paint on wall, 600 x 3000 cm approx
Landscape, 2013 (detail), Spray paint on wall, 600 x 3000 cm approx
Landscape, 2013

Spray paint on wall
600 x 3000 cm approx

Landscape, 2013

Spray paint on wall
600 x 3000 cm approx

Eva Rothschild
My World and Your World, 2020

Painted steel, zinc and polyester
1597.6 x 1180.6 x 1193.4 cm, 629 x 464 3/4 x 469 7/8 in

My World and Your World, 2020

Painted steel, zinc and polyester
1597.6 x 1180.6 x 1193.4 cm, 629 x 464 3/4 x 469 7/8 in

Hazard, 2018

Concrete, steel, synthetic polymer paint
163.5 x 625.5 x 30.0 cm, 64.4 x 246.3 x 11.8 in

Hazard, 2018

Concrete, steel, synthetic polymer paint
163.5 x 625.5 x 30.0 cm, 64.4 x 246.3 x 11.8 in

Installation view, 'Eva Rothschild | The Shrinking Universe', Irish Pavilion, Venice Biennale, 2019
Installation view, 'Eva Rothschild | The Shrinking Universe', Irish Pavilion, Venice Biennale, 2019
Installation view, 'Eva Rothschild | The Shrinking Universe', Irish Pavilion, Venice Biennale, 2019
Spektor, 2019

Painted and laquered bronze, fibreglass, steel, paint
247 x 49.5 x 51 cm

Spektor, 2019

Painted and laquered bronze, fibreglass, steel, paint
247 x 49.5 x 51 cm

Installation view 'Lustwarande ‘15', Fundament Foundation, Tilburg, 2015
Installation view 'Lustwarande ‘15', Fundament Foundation, Tilburg, 2015
Installation view 'Lustwarande ‘15', Fundament Foundation, Tilburg, 2015
Installation view, 'City Room (with Gary Webb)', Mario Sequeira, Portugal, 2017
Installation view, 'City Room (with Gary Webb)', Mario Sequeira, Portugal, 2017
Middle Temple, 2015

Painted aluminium
300 x 352 x 338 cm

Middle Temple, 2015

Painted aluminium
300 x 352 x 338 cm

Installation view,  Cass Sculpture Foundation, 2014
Installation view,  Cass Sculpture Foundation, 2014
Installation view, Cass Sculpture Foundation, 2014
Nature and Culture, 2014 (detail), painted aluminium, 300 x 950 x 950 cm
Nature and Culture, 2014 (detail), painted aluminium, 300 x 950 x 950 cm
Nature and Culture, 2014

Painted aluminium
300 x 950 x 950 cm

Nature and Culture, 2014

Painted aluminium
300 x 950 x 950 cm

Installation view, 'This And This And This', Cass Sculpture Foundation, West Sussex 2013
Installation view, 'This And This And This', Cass Sculpture Foundation, West Sussex 2013
Installation view, 'This And This And This', Cass Sculpture Foundation, West Sussex 2013
Installation view, 'This And This And This', Cass Sculpture Foundation, West Sussex 2013
Installation view, 'This And This And This', Cass Sculpture Foundation, West Sussex 2013
This and This and This, 2013

Aluminium, steel, powder coating, clear varnish
550 x 600 x 600 cm

This and This and This, 2013

Aluminium, steel, powder coating, clear varnish
550 x 600 x 600 cm

Installation view, At Doris C. Freedman Plaza, New York, 2011
Installation view, At Doris C. Freedman Plaza, New York, 2011
Installation view, At Doris C. Freedman Plaza, New York, 2011
Installation view, At Doris C. Freedman Plaza, New York, 2011
Installation view, At Doris C. Freedman Plaza, New York, 2011
Empire, 2011

Painted steel
571.5 x 998.2 x 769.6 cm

Eva Rothschild created a work that responded to the role of Doris C. Freedman Plaza as an important and heavily used entry point to Central Park. The sculpture represented a gateway, referencing the natural, muscular forms of the trees that line the site as well as the complex mass of buildings that border the Midtown Manhattan site. Rising to nearly 20 feet and spidering over the center of the Plaza, the sculpture is fabricated in four-inch diameter steel painted with red, green, and black stripes and lightly rests on the ground at ten different points. Rothschild notes, “The stripes climb over the arch in different densities and widths, the colors switching from foot to foot, transforming the fixed staggered lines into vectors and visually destabilizing what viewers know to be a solid structure. The sculpture takes the form of a multidirectional arch extending the natural arches formed by the trees that beckon the public into Central Park. The Plaza is a threshold, and the work aims not to congest the space but to heighten awareness of the shift that takes place when one steps out of the street and into the Park. It should become another gateway between two different worlds of urban experience.”

Empire, 2011

Painted steel
571.5 x 998.2 x 769.6 cm

Mass mind (steel version), 2007

Steel
254 x 142.2 x 142.2 cm

Mass mind (steel version), 2007

Steel
254 x 142.2 x 142.2 cm

Meera, 2007

Painted aluminium
250 x 90 x 90 cm

Meera, 2007

Painted aluminium
250 x 90 x 90 cm

Within You, Without You (steel version), 2004

Steel
300 x 180 x 180 cm

Within You, Without You (steel version), 2004

Steel
300 x 180 x 180 cm

Installation view, ‘Frieze Art Fair’, Sculpture Park, 2009
Installation view, ‘Frieze Art Fair’, Sculpture Park, 2009
Installation view, ‘Frieze Art Fair’, Sculpture Park, 2009
Installation view, ‘Frieze Art Fair’, Sculpture Park, 2009
Installation view, ‘Frieze Art Fair’, Sculpture Park, 2009
Installation view, ‘Frieze Art Fair’, Sculpture Park, 2009
Installation view, ‘Frieze Art Fair’, Sculpture Park, 2009
Someone and Someone, 2009

Painted Aluminium
450 x 400 x 100 cm

Ed. of 3 + 1 AP

Someone and Someone, 2009

Painted Aluminium
450 x 400 x 100 cm

Monika Sosnowska
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Tower, 2019 (detail), Steel, paint, 168 x 220 x 215 cm
Tower, 2019 (detail), Steel, paint, 168 x 220 x 215 cm
Tower, 2019

Steel, paint
168 x 220 x 215 cm

Tower, 2019

Steel, paint
168 x 220 x 215 cm

Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2019
Tower, 2019

Steel, paint
292 x 160 x 174 cm

Tower, 2019

Steel, paint
292 x 160 x 174 cm

Railing, 2019

Painted steel, PVC
350 x 160 x 20 cm

Railing, 2019

Painted steel, PVC
350 x 160 x 20 cm

Installation view, 'Experience Traps', Middelheim Museum, Antwerp, 2018
Installation view, 'Experience Traps', Middelheim Museum, Antwerp, 2018
Installation view, 'Experience Traps', Middelheim Museum, Antwerp, 2018
Stairs, 2018

Steel, paint

Stairs, 2018

Steel, paint

Rebar, 2015

Painted steel
380 x 220 x 142 cm

Rebar, 2015

Painted steel
380 x 220 x 142 cm

Advertisement, 2015

Painted steel
236x 280 x 280 cm

Advertisement, 2015

Painted steel
236x 280 x 280 cm

Installation view, 'Architectonisation', Serralves Foundation, Porto, 2015
Installation view, 'Architectonisation', Serralves Foundation, Porto, 2015
Installation view, 'Architectonisation', Serralves Foundation, Porto, 2015
Balustrade, 2015

Painted steel, PVC
293 x 240 x 320 cm

Balustrade, 2015

Painted steel, PVC
293 x 240 x 320 cm

Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Facade, 2013

Painted steel
728 x 510 x 210 cm

Facade, 2013

Painted steel
728 x 510 x 210 cm

Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Installation view 'Regional Modernities' ACCA, Melbourne, 2013
Wall, 2013

Concrete, paint
240 x 265 x 304 cm

Wall, 2013

Concrete, paint
240 x 265 x 304 cm

Installation view Stanfordville, New York, 2013
Installation view Stanfordville, New York, 2013
Installation view Stanfordville, New York, 2013
Installation view Stanfordville, New York, 2013
Installation view Stanfordville, New York, 2013
Fir Tree, 2012 (detail), Anodized and painted steel, PVC handrail, 1200 x 200 x 200 cm
Fir Tree, 2012 (detail), Anodized and painted steel, PVC handrail, 1200 x 200 x 200 cm
Installation view Doris C. Freedman Plaza, Central Park, New York, 2012
Installation view Doris C. Freedman Plaza, Central Park, New York, 2012
Installation view Doris C. Freedman Plaza, Central Park, New York, 2012
Installation view Doris C. Freedman Plaza, Central Park, New York, 2012
Fir Tree, 2012 (detail), Anodized and painted steel, PVC handrail, 1200 x 200 x 200 cm
Fir Tree, 2012 (detail), Anodized and painted steel, PVC handrail, 1200 x 200 x 200 cm
Fir Tree, 2012

Anodized and painted steel, PVC handrail
1200 x 200 x 200 cm

Drawing from the architectural history of communist-era Poland, Monika Sosnowska’s sculpture Fir Tree reimagines the external staircase of a Socialist housing block as a 40-foot tall sculpture first installed at Doris C. Freedman Plaza and now installed in a private collection in Standfordville in New York. Fir Tree built on Sosnowska’s previous works exploring the architectural features and domestic spaces of her native Poland—many of which continue to elicit strong emotions. Similar to her 2010 sculpture, The Staircase, which was installed in an external atrium at K21 in Düsseldorf, this work began with a functional staircase, replete with red PVC handrail. Using pulleys, cranes, and other industrial machines, Sosnowska manipulates the familiar form, pulling and bending it to achieve a new state. Reminiscent of an evergreen tree with its heavy branches bowing toward the ground, the tall, slender form soars above the Plaza, marking the transition from dense urban space to cultivated landscape.

Fir Tree, 2012

Anodized and painted steel, PVC handrail
1200 x 200 x 200 cm

Untitled, 2012

Stainless steel, concrete
225 x 280 x 150 cm

Untitled, 2012

Stainless steel, concrete
225 x 280 x 150 cm

Stairs, 2011

Painted steel
213 x 457 x 375 cm

Stairs, 2011

Painted steel
213 x 457 x 375 cm

Installation view 'Experience Traps', Middelheim Museum, Antwerp
Installation view 'Experience Traps', Middelheim Museum, Antwerp
Installation view 'Experience Traps', Middelheim Museum, Antwerp
Untitled, 2008

Steel, Concrete
Installed dimensions variable

Untitled, 2008

Steel, Concrete
Installed dimensions variable

Simon Starling
Installation view 'Kunstpark', Ordrupgaard, Charlottenlund, 2015
Installation view 'Kunstpark', Ordrupgaard, Charlottenlund, 2015
Installation view 'Kunstpark', Ordrupgaard, Charlottenlund, 2015
Bridge, 2015, (detail) Painted Japanese cedar veneer, laminated glass, painted steel, concrete, 240 x 480 x 4.5 cm
Bridge, 2015, (detail) Painted Japanese cedar veneer, laminated glass, painted steel, concrete, 240 x 480 x 4.5 cm
Installation view 'Kunstpark', Ordrupgaard, Charlottenlund, 2015
Installation view 'Kunstpark', Ordrupgaard, Charlottenlund, 2015
Bridge, 2015

Painted Japanese cedar veneer, laminated glass, painted steel, concrete
240 x 480 x 4.5 cm

Starling collaborated with Japanese theatre painters, Toru Okada and Takeshi Furukawa, to create a large painting that mimics the backdrop of the Japanese Noh theatre, in which the motif of a pine tree is the gateway to the spirit world. Besides Noh Theatre, Starling was inspired by the Japanese tree species found in the museum park, as well as the Impressionist works in the collection.

Bridge, 2015

Painted Japanese cedar veneer, laminated glass, painted steel, concrete
240 x 480 x 4.5 cm

Installation view 'Project for Public Sculpture (After Thomas Annan)', The Bath House, Osborne Street, Glasgow, 2008
Installation view 'Project for Public Sculpture (After Thomas Annan)', The Bath House, Osborne Street, Glasgow, 2008
Installation view 'Project for Public Sculpture (After Thomas Annan)', The Bath House, Osborne Street, Glasgow, 2008
Installation view 'Project for Public Sculpture (After Thomas Annan)', The Bath House, Osborne Street, Glasgow, 2008
Installation view 'Project for Public Sculpture (After Thomas Annan)', The Bath House, Osborne Street, Glasgow, 2008
Installation view 'Project for Public Sculpture (After Thomas Annan)', The Bath House, Osborne Street, Glasgow, 2008
Installation view 'Project for Public Sculpture (After Thomas Annan)', The Bath House, Osborne Street, Glasgow, 2008
Project for A Public Sculpture (After Thomas Annan), 2008

Foam, resin, fibreglass, framed photograph (silver gelatin print)
Sculpture 270 x 400 x 217 cm (Can be cast in steel)

Project for a Public Sculpture (After Thomas Annan) was developed in part as a response to the uses and abuses of the visual arts as an instrument of the ongoing urban renewal of Glasgow. The project takes the form of a life-sized model or casting pattern for a large-scale public sculpture. The model, which at first glance reassembles a generic modernist, abstract sculpture, was generated from a microscopic image-fragment, a single silver particle from a traditional gelatin silver photographic print, which has been enlarged 10 million times. The site for the exhibition, a soon-to-be-demolished, semi-derelict, public baths and wash house on Osborne Street, was built in 1894 by the Office of Public Works as part of the process of urban renewal that transformed the slums of the Glasgow Cross area following the intervention of the ‘City Improvement Trust’. In 1866 the Trust commissioned the Scottish photographer Thomas Annan (1829 – 1887) to document the closes around the Saltmarket, High Street, Gallowgate and Bridgegate. These unprecedented documentary photographs marked a period of intense overcrowding, unsanitary conditions and disease in large areas of a city whose population had grown five-fold in the preceding 60 years. Project for a Public Sculpture... began with the reprinting of an image of Close No. 101, High Street, Glasgow from one of the original glass-plate negatives produced by Thomas Annan in 1866. A circular section of the resulting print was then cut away and stripped of its silver particles, each individually marked by their exposure to Annan’s negative. A single silver particle (400 nanometres in length) was then identified and repeatedly scanned from different angles in a Transmitting Electron Microscope at the Department of Infection & Immunity, University of Glasgow, in order to build up a 3D model or ‘tomograph’ of the particle. This ‘virtual’ model was then once again given physical form, albeit hugely magnified, by a computer guided milling machine. The resulting sculpture will be exhibited along with the ‘holed’ Thomas Annan image in what remains of the public baths.

Project for A Public Sculpture (After Thomas Annan), 2008

Foam, resin, fibreglass, framed photograph (silver gelatin print)
Sculpture 270 x 400 x 217 cm (Can be cast in steel)

Installation view 'The Nanjing Particles', MASS Museum of Contemporary Art, North Adams, Massachusetts, 2008
Installation view 'The Nanjing Particles', MASS Museum of Contemporary Art, North Adams, Massachusetts, 2008
Installation view 'The Nanjing Particles', MASS Museum of Contemporary Art, North Adams, Massachusetts, 2008
Installation view 'The Nanjing Particles', MASS Museum of Contemporary Art, North Adams, Massachusetts, 2008
Installation view 'The Nanjing Particles', MASS Museum of Contemporary Art, North Adams, Massachusetts, 2008
The Nanjing Particles (After Henry Ward, View of C.T. Sampson's Shoe Manufactory, with the Chinese Shoemakers in working Costume, ca. 1875), 2008

Forged stainless steel, B&W Inkjet print
Sculptures 200 x 420 x 150 cm; 200 x 450 x 170 cm, inkjet print 6 x 13 m 200 x 450 x 170 cm

Originally developed for Mass MOCA this artwork attempts to collapse the particular labour history of the former industrial town of North Adams, Massachusetts onto current global trends in manufacture. Two silver particles, from a pair of stereoscopic photographs from 1875 of a group of Chinese migrant workers outside the Sampson shoe factory, were extracted from the prints’ emulsion, and working with scientists in nearby Albany, New York, 3-D images of the silver particles were created with the aid of a one million volt electron microscope. The scanned images of the particles were then translated into computer renderings from which three-dimensional models were produced. These models of the tiny image fragments were then replicated as immensely enlarged sculptural objects, one million times their original size, forged in mirror-finish stainless steel in Nanjing, China and finally exhibited back in the post-industrial setting of Mass MOCA’s vast exhibition space.

The Nanjing Particles (After Henry Ward, View of C.T. Sampson's Shoe Manufactory, with the Chinese Shoemakers in working Costume, ca. 1875), 2008

Forged stainless steel, B&W Inkjet print
Sculptures 200 x 420 x 150 cm; 200 x 450 x 170 cm, inkjet print 6 x 13 m 200 x 450 x 170 cm

Installation view 'Radical Nature, Art & Architecture for a Changing Planet, 1969-2009', Barbican Art Gallery, London, 2009
Installation view 'Radical Nature, Art & Architecture for a Changing Planet, 1969-2009', Barbican Art Gallery, London, 2009
Installation view 'Radical Nature, Art & Architecture for a Changing Planet, 1969-2009', Barbican Art Gallery, London, 2009
Installation view 'Radical Nature, Art & Architecture for a Changing Planet, 1969-2009', Barbican Art Gallery, London, 2009
Installation view 'Radical Nature, Art & Architecture for a Changing Planet, 1969-2009', Barbican Art Gallery, London, 2009
Installation view Hiroshima City Museum of Contemporary Art, curated by Yukie Kamiya, Hiroshima, Japan, 2011
Installation view Hiroshima City Museum of Contemporary Art, curated by Yukie Kamiya, Hiroshima, Japan, 2011
Installation view ‘ZENOMAP - New Works from Scotland for the Venice Biennale’, 50th Venice Biennale, Venice, 2003
Installation view ‘ZENOMAP - New Works from Scotland for the Venice Biennale’, 50th Venice Biennale, Venice, 2003
Installation view ‘ZENOMAP - New Works from Scotland for the Venice Biennale’, 50th Venice Biennale, Venice, 2003
Installation view ‘ZENOMAP - New Works from Scotland for the Venice Biennale’, 50th Venice Biennale, Venice, 2003
Island For Weeds, 2003

Soil, rhododendrons, water, plastic, metal, self regulating pressure system.
243.8 x 365.8 x 609.6 cm

Originally conceived to float on Loch Lomond, Scotland within the newly established Scottish National Park, Island for Weeds is a support structure designed to sustain and contain a small number of Rhododendron ponticum plants. It is part of a body of work by Starling that focuses on the introduction and subsequent demonisation of this hardy shrub. While admired for its flamboyant spring blooms and still featured in many a picturesque image of the Scottish landscape, Rhododendron ponticum has become a major problem for landowners and conservationists alike. Its presence in the National Park poses fundamental questions in relation to the nature and make-up of the country’s landscape—questions finally considered to be too contentious to be addressed by a public art work. Island for Weeds is designed around a number of plastic pipes of the type most commonly used for gas mains under the road. Due to their fatigue- resistant characteristics they are also increasingly deployed in marine engineering and fisheries. The system is designed in such a way that it can regulate its own height in the water using compressed air stored in the dark blue pipes and varying amounts of water stored in the yellow pipes below. If the soil on the island becomes too heavy from excessive rain, a switch is triggered by a depth gauge and water is blown out of the yellow tanks causing the island to rise back to the correct level. The system is maintained from time to time by topping up the dark blue pressurised pipes with a scuba tank.

Island For Weeds, 2003

Soil, rhododendrons, water, plastic, metal, self regulating pressure system.
243.8 x 365.8 x 609.6 cm

Joanne Tatham & Tom O'Sullivan
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Installation view, Coachella Valley Music & Arts Festival, California, 2017
Is this what brings things into focus, 2017

Sheet, timber, CLS, paint, expanded polystyrene foam, metal scaffold
Dimensions variable

Is this what brings things into focus, 2017

Sheet, timber, CLS, paint, expanded polystyrene foam, metal scaffold
Dimensions variable

Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate, 2018
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
Installation view ‘DOES THE ITERATIVE FIT’, Granary Square, London, 2017 (Commissioned by The King's Cross Project 2017)
DOES THE ITERATIVE FIT, 2017

Painted plywood, timber construction, lights, audio recital
682.5 x 342.5 x 342.5 cm

DOES THE ITERATIVE FIT is a temporary publicly sited sculptural and audio artwork originally commissioned in 2017 by The Kings Cross Project and originally installed in Granary Square London during the Christmas period. Drawing on visual motifs that Tatham and O’Sullivan recycle and reinterpret within their practice alongside a specifically devised audio soundtrack, DOES THE ITERATIVE FIT is a response to and critique of the context of its original commission brief. Through a reimagining of the behaviours or interpretations of publicly sited sculpture DOES THE ITERATIVE FIT uses the forms, modes, and behaviours of contemporary art practice and its discourse, with the brief to produce a Christmas tree and the context of its site. Tatham and O’Sullivan’s response takes an over-determined outcome as a starting point through which to consider the functions that art can be expected to perform within the public sphere. Tatham and O’Sullivan designed a number of absurd characteristics, that both delivered the entertaining spectacle of a Christmas Tree, whilst also providing a disruptive mechanism for critique.

DOES THE ITERATIVE FIT, 2017

Painted plywood, timber construction, lights, audio recital
682.5 x 342.5 x 342.5 cm

Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Are You LOCATIONALIZED, 2014, (detail) MDF, timber, paint, Dimensions variable
Are You LOCATIONALIZED, 2014, (detail) MDF, timber, paint, Dimensions variable
Are You LOCATIONALIZED, 2014

MDF, timber, paint
Dimensions variable

Are You LOCATIONALIZED, 2014

MDF, timber, paint
Dimensions variable

Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Installation view 'Are you LOCATIONALIZED', North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014)
Are You LOCATIONALIZED, 2014

MDF, timber, paint, plywood cones, audio recital
Dimensions variable

Are You LOCATIONALIZED, 2014

MDF, timber, paint, plywood cones, audio recital
Dimensions variable

Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
Installation view ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh, 2011
The indirect exchange of uncertain value, 2011

Plywood, timber, paint
Cat structure: 590 x 710 x 150 cm, Boot structure: 340 x 500 x 200 cm

The indirect exchange of uncertain value was developed in response to the nature of public and private space within Edinburgh. The imposing landmark of Fettes College building, with its extensive grounds, brings issues of public and private space into sharp focus. The project will work with and against this context to consider the wider relationship of the public to the private, with particular reference to the role of education and the instrumentalisation of art within the public sphere for the public good.

The indirect exchange of uncertain value, 2011

Plywood, timber, paint
Cat structure: 590 x 710 x 150 cm, Boot structure: 340 x 500 x 200 cm

Michael Wilkinson
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2018
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2018
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2018
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2018
Installation view, The Modern Institute, Aird's Lane, Glasgow, 2018
Pyramid, 2018

Granite cobble stones
124 x 150 x 150 cm

Pyramid, 2018

Granite cobble stones
124 x 150 x 150 cm

Installation view ‘SORRY HAD TO DONE’, The Modern Institute, 14—20 Osborne Street, Glasgow, 2015
Installation view ‘SORRY HAD TO DONE’, The Modern Institute, 14—20 Osborne Street, Glasgow, 2015
Installation view ‘SORRY HAD TO DONE’, The Modern Institute, 14—20 Osborne Street, Glasgow, 2015
Dream A Garden, 2015, (detail) Concrete from the recently demolished 109 Bluevale Street, a tower block that stood in the east end of Glasgow between 1968 and 2015, 680 x 344 x 27 cm, 2015
Dream A Garden, 2015, (detail) Concrete from the recently demolished 109 Bluevale Street, a tower block that stood in the east end of Glasgow between 1968 and 2015, 680 x 344 x 27 cm, 2015
Dream A Garden, 2015, (detail) Concrete from the recently demolished 109 Bluevale Street, a tower block that stood in the east end of Glasgow between 1968 and 2015, 680 x 344 x 27 cm, 2015
Dream A Garden, 2015, (detail) Concrete from the recently demolished 109 Bluevale Street, a tower block that stood in the east end of Glasgow between 1968 and 2015, 680 x 344 x 27 cm, 2015
Dream A Garden, 2015, (detail) Concrete from the recently demolished 109 Bluevale Street, a tower block that stood in the east end of Glasgow between 1968 and 2015, 680 x 344 x 27 cm, 2015
Dream A Garden, 2015, (detail) Concrete from the recently demolished 109 Bluevale Street, a tower block that stood in the east end of Glasgow between 1968 and 2015, 680 x 344 x 27 cm, 2015
Dream a Garden, 2015

Concrete from the recently demolished 109 Bluevale Street, a tower block that stood in the east end of Glasgow between 1968 and 2015
680 x 344 x 27 cm

Dream a Garden, 2015

Concrete from the recently demolished 109 Bluevale Street, a tower block that stood in the east end of Glasgow between 1968 and 2015
680 x 344 x 27 cm

Jesse Wine
Proposed Outdoor Work
Proposed Outdoor Work
Vertebrae sculpture, 2021

Patinated bronze
86.4 x 78.7 x 81.3 cm, 34 x 31 x 32 in

Vertebrae sculpture, 2021

Patinated bronze
86.4 x 78.7 x 81.3 cm, 34 x 31 x 32 in

Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021, Lost-wax cast glass, 18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in
Meantime, 2021

Lost-wax cast glass
18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in

Meantime, 2021

Lost-wax cast glass
18 x 26 x 23 cm 7 1/8 x 10 1/4 x 9 1/8 in

Installation view Battersea Power Station and CASS Sculpture Foundation, Powerhouse commission, London, 2017
Installation view Battersea Power Station and CASS Sculpture Foundation, Powerhouse commission, London, 2017
Installation view Battersea Power Station and CASS Sculpture Foundation, Powerhouse commission, London, 2017
Installation view Battersea Power Station and CASS Sculpture Foundation, Powerhouse commission, London, 2017
Installation view Battersea Power Station and CASS Sculpture Foundation, Powerhouse commission, London, 2017
Battersea Power Station and CASS Sculpture Foundation Commission, 2017

Battersea Power Station and CASS Sculpture Foundation Commission, 2017

Installation view, Cass Sculpture Foundation, 2015
Installation view, Cass Sculpture Foundation, 2015
Installation view, Cass Sculpture Foundation, 2015
Installation view, Cass Sculpture Foundation, 2015
Installation view, Cass Sculpture Foundation, 2015
Installation view, Cass Sculpture Foundation, 2015
Installation view, Cass Sculpture Foundation, 2015
Installation view, Frieze Sculpture Park, 2015
Installation view, Frieze Sculpture Park, 2015
Let Me Entertain You, 2015

Glazed ceramic
60 x 465 x 60 cm

Let Me Entertain You, 2015

Glazed ceramic
60 x 465 x 60 cm

Richard Wright
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 390 x 204 cm 153 1/2 x 80 1/4 in
Untitled, 2020

Handmade Leaded Glass
390 x 204 cm 153 1/2 x 80 1/4 in

Untitled, 2020

Handmade Leaded Glass
390 x 204 cm 153 1/2 x 80 1/4 in

Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Richard Wright, Untitled, 2020, Handmade Leaded Glass, 147.3 x 165.6 cm 58 x 65 1/4 in
Untitled, 2020

Handmade Leaded Glass
147.3 x 165.6 cm 58 x 65 1/4 in

Untitled, 2020

Handmade Leaded Glass
147.3 x 165.6 cm 58 x 65 1/4 in

Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
Installation view, The Modern Institute, Aird's Lane Bricks Space, 2017
No Title, 2017

Hand painted posters - Enamel on paper
Dimensions variable

Enveloping the gallery, Wright produced a new wall painting that covered the Aird’s Lane gallery space’s front façade. Hand-painted posters, pasted on to the external walls, doors, windows and shutters, are fleeting and temporal in nature. They interpreted and traced the architecture of the space, transforming the building into an artwork and make painting perceptible, as a spatial experience.

No Title, 2017

Hand painted posters - Enamel on paper
Dimensions variable

Installation view ‘The Grass is Singing’, Mendes Wood DM, São Paulo, 2015
Installation view ‘The Grass is Singing’, Mendes Wood DM, São Paulo, 2015
Installation view ‘The Grass is Singing’, Mendes Wood DM, São Paulo, 2015
Installation view ‘The Grass is Singing’, Mendes Wood DM, São Paulo, 2015
Installation view ‘The Grass is Singing’, Mendes Wood DM, São Paulo, 2015
Installation view ‘The Grass is Singing’, Mendes Wood DM, São Paulo, 2015
Installation view ‘The Grass is Singing’, Mendes Wood DM, São Paulo, 2015
No title, 2015

Hand painted posters - enamel on paper
Dimensions variable

No title, 2015

Hand painted posters - enamel on paper
Dimensions variable

Richard Wright, No Title, 2015, Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015, Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015, Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Installation view, Gagosian Gallery, Rome, 2015
Installation view, Gagosian Gallery, Rome, 2015
Richard Wright, No Title, 2015, Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015, Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015, Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015, Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 174 cm 181.1 x 68.5 in
Richard Wright, No Title, 2015, Leaded glass, 460 x 173.5 cm 181.1 x 68.3 in
Richard Wright, No Title, 2015, Leaded glass, 460 x 173.5 cm 181.1 x 68.3 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 173.5 cm 181.1 x 68.3 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 173.5 cm 181.1 x 68.3 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 173.5 cm 181.1 x 68.3 in
Richard Wright, No Title, 2015 (detail), Leaded glass, 460 x 173.5 cm 181.1 x 68.3 in
Glass works, 2015

Leaded glass
460 x 174 cm 181.1 x 68.5 in

In the elliptical gallery in Rome, Wright has replaced each of three five-meter-tall, south-facing windows with twelve evenly sized leaded-glass panels. Two of the windows are clear, colourless glass, while in the third he has experimented with colour for the first time. Generated from an intensive preparatory process of physical composition that involves drawing and folding on a 1:1 scale, each panel comprises hundreds of handmade geometric glass elements that vary in transparency and texture. Each angled section is framed in lead, building into a field of staggeringly complex rhythms. And through these rhythmic matrices, daylight streams, filling the gallery with its celestial and ephemeral presence.

Glass works, 2015

Leaded glass
460 x 174 cm 181.1 x 68.5 in

Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Richard Wright, No Title, 2014, Handmade leaded glass, 249.9 cm x 269.3 cm; 9 internal frames: 81.8 x 88.3 cm approx each
Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
Installation view The Modern Institute, Aird's Lane, Glasgow, 2014
No Title, 2014

Handmade leaded glass
249.9 cm x 269.3 cm 9 internal frames: 81.8 x 88.3 cm approx each

No Title, 2014

Handmade leaded glass
249.9 cm x 269.3 cm 9 internal frames: 81.8 x 88.3 cm approx each

Richard Wright, No Title, 2013, Handmade leaded glass, Dimensions variable
Richard Wright, No Title, 2013, Handmade leaded glass, Dimensions variable
Richard Wright, No Title, 2013, Handmade leaded glass, Dimensions variable
Richard Wright, No Title, 2013, Handmade leaded glass, Dimensions variable
Richard Wright, No Title, 2013, Handmade leaded glass, Dimensions variable
Richard Wright, No Title, 2013 (detail), Handmade leaded glass, Dimensions variable
Richard Wright, No Title, 2013 (detail), Handmade leaded glass, Dimensions variable
Richard Wright, No Title, 2013 (detail), Handmade leaded glass, Dimensions variable
Richard Wright, No Title, 2013 (detail), Handmade leaded glass, Dimensions variable
No Title, 2013

Handmade leaded glass
Dimensions variable

No Title, 2013

Handmade leaded glass
Dimensions variable

Richard Wright, No Title, 2006, Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006, Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006, Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006, Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006, Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006 (detail), Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006 (detail), Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006 (detail), Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006 (detail), Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006, Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006, Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006 (detail), Gold leaf on glass, Dimensions Variable
Richard Wright, No Title, 2006 (detail), Gold leaf on glass, Dimensions Variable
No Title, 2006

Gold leaf on glass
Dimensions Variable

No Title, 2006

Gold leaf on glass
Dimensions Variable

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