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Project Info


2015 - 2016  Further information on artworks

 

2015    On this day...
           
24 metre long x 2.7 m high panoramic photograph. Commission for Gloucester Royal                     Hospital. 

2015    Llusernau
           
Light installation for Glanrhyd Low Secure Mental Health Unit, Wales.

2015    Spectrum
            Glass artwork for Goodmayes Hospital Grounds, London.
            Commissioned by Vision Redbridge Culture & Leisure and North East London NHS                        Foundation Trust.

2015    The Reveal
            Site specific installation for Hadleigh Country Park, Essex.

2015    Precession
            Site specific installation created during Viewpoint Residency at Portsmouth Cathedral.

2016    Capriccio
            8.4 metre long digital photograph. National Trust Mottisfont. 

2016    Strange Attractor
            Installation commissioned for Da Vinci Engineered Exhibition, Amy Johnson Festival, Hull.

2016    Travelling Light
            Site specific light installation commissioned by National Rail Museum and Illuminating York                for Illuminating York 2016


 

2015 
On this day
...[View further images]
24 m long x 2.7 m high vinyl print, Gloucester Royal Hospital
Commissioned by Gloucestershire Hospitals NHS Foundation Trust, Gloucestershire Healthcare Partnership and Bilfinger. Commission managed by Willis Newson, 2015

On this day... was commissioned to mark the tenth anniversary of the completion of the hospital buildings and replaced the artwork As the Crow Flies

The 24 m long photograph forms a 360 degree view of Gloucester and the surrounding landscape, with each one metre wide panel representing one hour of the day. The photographs were taken from the roof of the hospital tower over a 24 hour period from 9th to the 10th September 2014. The camera was moved by 15 degrees every hour and continued through the night to complete the 360 degree view.

The static parts within the landscape - such as the roads, buildings and fields - all join together perfectly, in contrast to the more transient elements like the clouds, shadows and moving cars. This transition can be seen from hour to hour as light levels alter and vehicles crossing the lines between each hourly panel move and appear cut in half. The changing weather is also evident throughout the day as cloud formations come and go.

On this day... was produced using a similar approach to the one created 10 years earlier. Unlike As The Crow Flies, which used a large format plate camera, this new panorama has been photographed in sections using a high resolution digital camera. The final image is made up of hundreds of photographs which have been seamlessly joined together to achieve the high level of detail.  

Further info on the project at Willis Newson

 
 
Llusernau [view further images]
Screen printed ceramic inks on t
oughened laminated glass, stainless steel and RGB LED lighting
Taith Newydd
- Glanrhyd Low Secure Mental Health Unit, Bridgend, South Wales
Commissioned by EMP Projects on behalf of Abertawe Bro Morgannwg University Health Board.

Llusernau (Welsh for lanterns) is a light installation comprised of three pentagonal glass mirror prism, each discretely housing a RGBW LED lighting system. The pattern of each lantern has been individually designed for three internal courtyards, which lie at the heart of Taith Newydd - the new Low Secure Mental Health Unit in Glanrhyd, Wales.

The design and form of the lanterns have developed from our research into the mathematical relationships of patterns in nature, in particular the relationship between phyllotaxis, phi and the pentagonal form. The coloured translucent patterns on each panel are derived from macro-photographs of leaves taken from the Cedar and Rowan tree and the Geranium plant. The resulting patterns have then been arranged to repeat, mirror and reflect around the pentagonal form.

During the day the silvered lattice pattern on the lanterns reflect the changing sky and surrounding landscape, whilst at night their traceries cast pools of dappled light and shadow. In contrast to this the translucent green of the foliage pattern appears unchanging during daylight hours, but at night the internal lighting illuminates the leaf pattern from within, subtly taking it through a sequence of colours.

Background to the project
In 2014 we were brought on board to develop site specific art interventions for the new building. Part of our brief was to create a robust creative lighting installation for the hospital's courtyards around which the Rowan and Cedar Wards are built.

The idea for the artwork evolved through discussions with the steering group, landscape architect and design team. We were keen that the lanterns were different for each of the courtyards to aid orientation and that the lighting solution also had a tangible daytime presence. We were also wanted to reference some of the organic qualities found in gardens such as the dappled light and green foliage patterns, whilst at the same time remaining true to the underlying form and symmetry of the pentagon.

We worked with the architectural art glass specialist Proto Studios to develop the glass designs which were completed and installed in Spring 2015. The finished lanterns are constructed from 21.5 mm thick toughened laminated glass which has been silvered and printed with durable ceramic inks. The glass structure sits on a stainless steel base each housing three energy efficient LED luminaires.

The lighting system switches on automatically at dusk via a photocell, but each lantern can also be individually controlled by remote control handsets, with the option to change the colour sequences as desired.

Vinyl designs for glazed areas
Complementing this installation are a series of frosted vinyl designs and manifestations which we created for key glazed areas in the building using the foliage patterns generated through the lantern designs. The patterns derived from Rowan and Cedar have been installed in the corresponding wards and provide privacy and visual interest for service users, whilst subtly aiding orientation around the building.

Further info...

 

 

Spectrum [View further images]
Two 3 m x 2m  toughened laminated glass and stainless steel
Goodmayes Hospital Grounds, Redbridge, London
Commissioned by Vision Redbridge Culture & Leisure on behalf of the London Borough of Redbridge and North East London Foundation Trust, 2015

The artwork
We were commissioned to create a new artwork for the grounds of Goodmayes Hospital Ilford, North East London NHS Foundation Trust, inspired by an engagement programme with service users and other communities, led by Salmagundi Films.

Spectrum is a vibrant colour field of transparent glass made up of two toughened laminated glass sheets each spanning a length of approximately 3 metres long by 2 metres high. These are installed in the grass area of Goodmayes Hospital grounds with each of these sheets positioned to run parallel to each other to create a space within which a person can stand.

The glass panels are printed with a grid of colour with the perspective of the grids set up to suggest an illusory fold in the area where they overlap. This vibrant intervention  offers people the experience of viewing the world through different colour filters; to feel the way that colour can subtly alter their mood and perception of the world.

The impetus for this idea was inspired by the films and messages that have come out of the community engagement in Phase One. For us the connecting thread running throughout the brief was that each person saw and perceived things differently.  From the participants' feedback it was clear that the artwork needed to be direct, easy to relate to and yet also thought provoking.

We wanted to create an artwork that offered the viewer a very direct visual sensory alteration of their perception of the world using the elements of light and colour.

Background to the project
A key feature of this public art project was the involvement of NELFT mental health service-users and other communities in the process of developing and informing the design brief which was achieved through the delivery of a number of workshop sessions working with six target groups.

Salmagundi was commissioned to lead on designing the workshop activities and delivering the sessions supported by Accendo who ensured that the content of the sessions was captured. The sessions used a combination of photography, film, stop frame animation and pixilation to produce a collection of visual and written material. Feedback from these sessions informed and shaped the final brief for the commission.

 

  

The Reveal
[View further images]
An underground camera obscura for Hadleigh Country Park, Essex

Commissioned by Essex County Council and Place Services on behalf of RSPB and The Greater Thames Marshes Nature Improvement Area Partnership (NIA) and with support from the Arts Council of England and the Olympic Legacy Interpretation fund, 2015

The idea for The Reveal evolved out of a process of research and engagement with the site and through working with local groups and the Park Rangers at Hadleigh Country Park.

On our first visit to Hadleigh, the route into the park did little to prepare us for the magnificent view that would reveal itself. The high vantage point overlooking the Thames estuary, makes Sandpit Hill an ideal observation post and it is these views which inspired the artist John Constable to paint the scene Hadleigh Castle (1829) nearly two hundred years ago.

Historically this site has played an important strategic role in defence and the World War II gun emplacements and ancillary buildings which are scattered about the site both above and below ground are evidence of this.

The development of the Olympic Mountain Bike Course for 2012 and the more recent adaptations of the trails have added another layer to this complex terrain. In contrast to these man-made interventions are the earth burrows and nests created by some of the park's invertebrates such as the Shrill Carder Bee.

Our idea to create an underground camera obscura evolved from all these observations and the desire to harness this amazing view and reveal it in an unexpected way.

Construction
The shell of the camera obscura is constructed from a 3.5 metre long Weholite pipe, identical to those used in the nearby bike trails. This has been embedded into the side of hill and positioned to face out towards the estuary and can be accessed via a path which leads down off the main trail on Sandpit Hill.

The exterior facade has been constructed with durable oak and the ash lined interior houses a seat and space for around 4 people. The lens of the camera obscura is fixed within the door which needs to be closed in order to dim the light and focus the view onto the back wall of the tunnel.

The Reveal has been designed to be accessible for wheelchair users and provides the visitor with a contemplative space in which to rest and experience the world in a different way. It reflects whatever is outside, so will by its nature always be changing.

Take a look at our BLOG to see photos of The Reveal under construction

Community Engagement
As part of this project we mentored the artist Flisan Beard and worked with her and local community groups Open Arts and Rethink Recovery to facilitate creative conversations and explorations of the park using photography, land art and creative writing.

This culminated in the exhibition Scene and Sensed which was a celebration of this engagement and the positive effect that creativity and the outdoors can have on our sense of well being. This show was the inaugural exhibition for the new Visitors' Hub at Hadleigh Country Park.


 



Precession

Installation created during Viewpoint Residency at Portsmouth Cathedral, November 2015
Light, salt, cast concrete and steel pendulum

Over the last month we have been artists in residence at Portsmouth Cathedral developing artworks in response to the space and theme of the residency. This year the overarching theme for the Cathedral and residency is focused on 'faiths connected', which explores how Christianity relates to other faiths. We have used light at the darkest time of the year to look into this concept.

Light is a perfect medium to explore the phenomena of faith in its broader sense. Light can reveal but also blind; it can change the appearance of things and cast shadows; above all it is seductive to the senses and faith can be all of these things. Using the ambiguities of light and projection, we have been exploring ideas of connection, common ground, division and exclusion. The setting of Portsmouth Cathedral makes this so much more vivid as these questions seem to be embodied within the fabric of the building and its use.

We have installed Precession at the center of the Cathedral. The installation is made up of a large table of salt which is swept by a concrete pendulum pivoting over 10 metres above, from a cross bar spanning the ceiling vault. This is illuminated from above by a red, a green and a blue spot light

Precession is a term used to describe the slow changes in direction of a rotating body such as the changes in direction of swing of a Foucault's pendulum, as momentum is exchanged between the pendulum bob and the planet earth.

The three lights are positioned and combine to form a center of white light. As the pendulum moves it cuts through the component colours splitting them into yellow, magenta and cyan. This colour split shadows every movement of the pendulum, and human interaction breaks the white light further into red blue and green. Occasionally the shadow is completely dark.

We wanted to use the architecture and symbolism of the Cathedral in a very direct way by creating an intervention along the centre line of the building, between the Baptistry and the Quire. The work is purposefully seductive, enticing and elemental. Each colour appears as a complete entity that could exclude the other or mix to make different colours.

The salt crystals that draw in and refract the light have an obvious connection to the sea and earth, and can both preserve and corrode. In the context of the Cathedral, salt is also a powerful metaphor for the flavour and quality of intention and action within Christianity and across other faiths.

Working with such strong and direct elements and letting them interact at the heart of a building with such a rich culture and symbolism has been an amazing experience.

 

   


Capriccio
8.4 metre long photographic digital print on acoustic panels, National Trust Mottisfont
Commissioned by National Trust for new visitor centre (2016)

A capriccio is as an architectural fantasy formed by the placing together of buildings, imaginary views and architectural elements into fictional combinations. This could be a description of Mottisfont peppered with curious illusory spaces like the tromp l'oeil murals of the Whistler Room and wall cupboards which open to reveal the architecture of the C13th Priory, the concealment of which lies at the heart of its architectural growth.

Capriccio is a contemporary photographic trompe l'oeil reworking of Mottisfont on an architectural scale. It creates an illusory extension across the back wall of the new visitor centre presenting Mottisfont as a theatrical myriorama of spaces. This offers the visitor glimpses through its diverse interiors into different parts of the surrounding landscapes, gardens and histories with the font and early Priory placed at the centre of the construction.

 

Mottisfont is so multi-layered that it takes some time to experience the depth of the property and its different stories. Capriccio rearranges these architectural layers and details such as the paintings on walls, the arrows of the curtain rails, the font, the gardens, and landscapes in much the same spirit as Rex Whistler created his illusory fantasies. For instance an apple on a table makes reference to the story behind Mottisfont's crab apple tree which is reputed to have been brought over from the garden where Napoleon was prisoner on the island of Elba. Mottisfont stands out as a quirky and artistic place sprung from a natural source - Capriccio is a reflection of this.

 

Strange Attractor [View further images]
LED light, white sand, neodymium magnets, stainless steel and chrome
Installation commissioned by the Amy Johnson Festival for the Da Vinci Engineered Exhibition, Zebedee's Yard, Hull (2016)

Strange Attractor is the title of a new installation created for the Da Vinci Engineered exhibition. The idea for the work evolved through discussions with the Department of Engineering at Hull University and has been inspired by the nature of flight, light and movement over landscape.

A magnetic pendulum swings in an arc across a large disk of white sand which has been raked into concentric patterns with the middle section raised to create a dished plateau. Projected onto this surface are three circles of continuously changing coloured light. These overlap with each other to form a central section of white light under which three magnetic centres exert an invisible force.

The swinging pendulum cuts a fine pattern in the dished central plateau of sand tracing its various journeys towards equilibrium and the calm elliptical spiral at the centre. The magnets however, exert a strange attraction and bring a degree of uncertainty to the airspace and the exact direction that will be taken. Occasionally the pendulum completely changes direction and can even become stranded at a magnetic pole.

Viewers are invited to swing the pendulum and follow the flight as it passes through borders of colour, sandy terrain and magnetic atmosphere.

The title for the work Strange Attractor is deliberately ambiguous; on one level it describes an equation or fractal set representing a complex pattern of behaviour in a chaotic system, but on another level it conveys our fascination with light and pattern amidst the compelling uncertainty of elemental forces.

Art and science have a natural overlap - both are functions of our interpretation and understanding of the universe and the world we live in.

Travelling Light
National Rail Museum, Leeman Road, York
Illuminating York Light Festival - 26 to 29 October 2016
Commissioned by Illuminating York and National Rail Museum with support from Pulsar Light

Travelling Light combines film, 3D laser scanning technology and lighting effects to create an ethereal light installation made specifically for The Workshop at the National Rail Museum. Viewed from the balcony above, glimpses of the partially illuminated Workshop can be seen through a large suspended voile screen onto which a film is projected.

The film projection takes a journey into the museum's collection and workshop area, with an eye on the future developments in engineering using new technologies to define space and material. Various light sources and technologies, from LED lighting to 3D laser scans, have been used to reveal or explore different interpretations of the space.

The Workshop is full of historic dismantled trains, components, tools and machines and is a fully functional engineering space. There is a strong sense of material and colour in this space but also potential energy. It is heavy and scattered at the same time.

The laser scans have been used to create 3D point clouds which are made up of millions of points of calibrated light taken from multiple locations, each with a three dimensional value that locates a tiny dot on a surface. It is as if every single item has a fine coating of dust made of light.

3D laser scans are currently used in rail system engineering to determine the kinematic envelope of a train. These envelopes are 3D shells of the spaces that rail vehicles will occupy whilst moving, including the effects of tilting and swaying due to tracks, wind resistance and other mechanical forces.

Full video can be viewed here
Video
of installation at The National Rail Museum

3D scanning undertaken by CT Surveys

Further links: Illuminating York and National Rail Museum