art – Later Than You Think

Re-opening – The National Gallery

It is fitting that our national collection of art to should be the first of the major galleries to re-open, and having been a visitor to the National for decades, I was keen to do so again at the earliest opportunity. It did not disappoint.

I have written elsewhere about my relationship with the arts in general, and some of the paintings in the National’s collection specifically (There is Art. There is Hope). I was lucky to be taken to London’s museums and galleries as a child. But often it is those places that give us our first taste of independence that stay with us, and so it has been for me and the National Gallery. Having first visited as a 15 year old, I have continued to do so ever since. It became somewhere I would ‘pop into’ when passing and would always try and include in visits to London when I lived elsewhere. These last few months may be the longest time I have been away from the National, ever.

Pre-booked timed slots are now required for all visitors, irrespective of whether you are taking in the current ‘Titian: Love, Desire, Death’ (currently fully booked until sometime in August I believe), or the permanent collection, or both. To facilitate social distancing the Gallery is divided into three one-way routes, A, B and C. On arrival in room 9 at the start of route C, the first painting I encountered was ‘The Dream of Saint Helena’ by Veronese. An image new to me and one which somehow captured my feelings, on returning to this place. Having engaged with art online(1) as much as possible during the weeks of Lockdown, I was unprepared for the visceral experience of witnessing it in person again. A wave of emotion, and something akin to relief washed over me, It was still there, and I was still able to be there.

The Dream of Saint Helena, Paolo Veronese

As well as pictures I often visit, it was wonderful to be able to view The Fighting Temeraire up close so soon after learning more about the work courtesy of TV’s ‘Greatest Paintings’, and to be able to recognise, at a distance, Turner’s signature use of light elsewhere in the Gallery. Also to view in person Klimt’s Portrait of Hermine Gallia 1904, which was recently the subject of an ‘Art with the Experts’ event I attended online.

The Fighting Temeraire, JMW Turner

A highlight of any visit now is the opportunity to see the newly restored Julia and Hans Rausing Room. The largest room in the Gallery, has been painstakingly restored to its former glory and is something of an artwork in itself. The current Nicolas Maes exhibition is well worth a detour from route C. In particular as this pupil of Rembrandt who later influenced Vermeer had an aptitude for capturing domestic scenes with wit and empathy– somewhat topical for our current times.

A friend asked me whether I had felt that I couldn’t linger in the Gallery as I would wish. Reassuringly this is not the case. While there is a requirement to progress around the building in a given route or routes and direction, once inside you are free to move at your own pace. Outside of the obviously popular rooms (as ever Van Gogh, Gauguin and Monet draw the crowds), it was not, and did not feel ‘crowded’ I would be interested to know how busy the most popular rooms will be allowed to get.(I believe the Gallery is currently expecting to welcome between a quarter and a third of its usual 15,000 visitors daily). The requirement to use defined routes did mean that I could not head straight to my favourite rooms and pictures as I would normally do. But the positive consequence of this is that I discovered pictures new to me.

A map showing the routes and facilities is downloadable in advance though frustratingly doesn’t include room numbers, which would have helped to maintain a sense of direction, while in progress. It can also be a little confusing. Having decided to do routes B and C (which overlap slightly), I was advised on arrival, for logistical reasons, to tackle them in reverse order and also encouraged to divert to the Nicolas Maes exhibition downstairs enroute. This worked well until, having entered the Maes rooms from route B, I exited and found myself part way through route C. Staff were however very helpful, in literally pointing me in the right direction, and I was soon back on track. Clearly a lot of thought has gone into the new (normal) visitor experience, and these are minor quibbles, to experience, not least on only the second day of re-opening (9^th July).

So if like me you have missed the National, or have never been, this is a great time to go. Right now it will be less crowded, both in the Gallery and on the journey, and once there, there are new joys to discover. Some of us were reminded during Lockdown how much we needed art. As our Galleries re-open, they have never needed us more.

All text © Later Than You Think 2020

A huge thank-you goes to the artist Lydia Bauman and the excellent lectures she has delivered several times a week through the Art with the Experts Meet-Up Group. Totalling 50 at the time of writing, these have provided the opportunity to learn more about an artist or theme, in short sessions, in early evening, several times per week. An ideal ‘after work’ and ‘social’ art fix for these times, and one which has enabled me to continue to feel connected to art and my artistic life.

Winter Lights

Canary Wharf’s Winter Lights Festival has become a firm fixture in the post-festive calendars of many Londoners – providing as it does a welcome opportunity to wrap up against the cold and enjoy a rare dose of the outdoors in these dark deep winter days.

Twenty-six installations are spread over the (current) entirety of the Wharf, mostly outdoors (a few are inside shopping malls). Some are limited to a visual spectacle while others are more interactive. Most works make innovative use of the architectural and developed natural landscapes of the Wharf’s estate, sometimes in ways that utilise existing features– as with Neon Tree and Light Bench in Canada Square Park, and Liquid Sound (by Entertainment Effects) (with colour and soundtrack) in Cabot Square – providing a lively backdrop for Old Flo. In other instances installations can seem (deliberately I suspect) at odds with the immediate environment – the web of globes of Affinity (by Amigo and Amigo and SITU2) in Montgomery Square appear to have landed from another world and are a good introduction to the immersive nature of many of the exhibits.

There is no overall theme for the 2020 Lights – some such as Lactolight (by Lactolight) at Westferry Circus incorporating 7,000+ recycled milk bottles and with an aim to raise awareness of single use plastic do reference the 2019 emphasis on sustainability – but if anything this year’s diversity of topic makes a welcome change and enhances the experience. Several works are permanent residents in the Wharf – these include Lightbench (by LBO Lightbank) in Canada Square and BIT.FALL (by Julius Popp) at Chancellors Passage. Others such as Sasha Trees (by Adam Decolight) are repeat ‘visitors’ in a new location this year at Bank Street Park.

Now in its sixth year -,and as winners of [d]arc awards (https://darcawards.com/) for the 2017 and 2019 Festivals – the ‘Lights’ increasingly has a reputation to both live up to, and surpass. While not quite in the league of the breakout year of 2017, the 2020 Lights does not disappoint and for me three works particularly stand out in a strong field.

The Clew (by Ottotto), literally circling the bridge at Cubitt Steps, is a stunning vision, combining as it does encirclement of the bridge, the opportunity to travel through the installation, and mesmerising reflections from a range of viewpoints, offering a new perspective on the Wharf itself. A must-visit for photographers!

The Clew – Cubitt Steps

Absorbed by Light (by Gali May Lucas) at Cabot Square is an arresting sight. Three ghostly seated figures each obviously absorbed, and illuminated by, the light from their mobiles. A thought-provoking work making clever use of place, activity and light – literally reflecting our own lives back to us.

Detail from Absorbed by Light – Cabot Square

Squiggle (by Angus Muir Design) is one of the larger scale works and makes excellent use of the space, in Jubilee Park, appearing to flow with the flora. When viewed from the side in a slightly surreal twist it is also (to me at least) somewhat reminiscent of the cover for Joy Division’s ‘Unknown Pleasures’.

Squiggle – Jubilee Park

With extended opening hours for this year the Winter Lights Festival ends on Saturday 25^th January. As ever get there if you can!

All images and text © Later Than You Think 2020

John Ruskin: The Power of Seeing

Beyond a now long ago visit to Brantwood, and awareness of his involvement with the Pre-raphaelites, I find I know relatively little about John Ruskin and his work. 2019 – the bicentenary of his birth, is a great year to learn more – full as it is of ‘Ruskin’ activities.

‘John Ruskin: the Power of Seeing’ at Two Temple Place explores the influences that shaped Ruskin, his views, and his relevance in the contemporary world. With Ruskin famed as a ‘true polymath’ – artist, art critic, teacher, social reformer, environmentalist and beyond, this is an ambitious undertaking. The exhibition brings together almost 200 works including paintings, drawings, daguerreotypes and sculpture. Drawing heavily on the substantial collection of the Guild of St George (founded by Ruskin in 1871) it also includes a number of contemporary works inspired by Ruskin’s relationship with the natural world.

The Lower Gallery displays the key influences that shaped Ruskin’s views on art and social issues throughout his life. Contextualised with biographical note and timeline, thoughtful curation leads us through Ruskin’s admiration of JMW Turner (‘the Pass of St Gotthard’) to his lifelong interest in architecture, and its detail. And finally onto Venice – the city with which he had a prolonged relationship and which had a profound effect upon him. The highlight here is the ‘Big Bunny’ (‘Western Façade of the Basilica of San Marco Venice’ – John Wharlton Bunny) – viewing this in the far corner of the gallery, we are literally surrounded by ‘Ruskin’s Venice’.

‘Western Façade of the Basilica of San Marco Venice’ – John Wharlton Bunny

Displays in the Hall introduce us to Ruskin’s somewhat unexpected relationship with Sheffield (home to the Guild of St George) and its metalworking craftsmen, and begins to introduce contemporary work. Hanging in the stairwell – and on the first floor landing are new (2009) pieces (Lampshade and Wallpaper) by Timorous Beasties inspired by Ruskin.

Lampshade and Wallpaper – Timorous Beasties

The Library immerses us one again in Ruskin’s world with objects deliberately displayed without labels (information sheets are available from stewards), and in a formation to resemble viewing works in Walkley Museum, Sheffield. This is surprisingly effective in encouraging us to see ‘through Ruskin’s eyes’.

‘Vertical Panorama – Oak Tree’ – Hannah Downing

Finally, the Great Hall is the focus, in particular for Ruskin’s greatest passions – nature and landscape – and it is here that the inclusion of contemporary objects, works to its greatest effect in developing our understanding of the relevance of his vision today. These include Hannah Downing’s ‘Vertical Panorama Oak Tree’. A towering hand drawn work with branches in the roof and roots beneath us – this dominates the room, yet demonstrates a level of photographic detail and vision which one suspects Ruskin would have immediately understood. The inclusion of two works from Grizedale Arts – ‘Morning’ and ‘Evening’ (located near the Sunrise and Sunset stained glass windows respectively) serve to remind us not only of Ruskin’s visionary environmental predictions but also of his links with the Lake District.

‘Evening’ – Grizedale Arts (2018)

It is not difficult to argue a case for the modern relevance of Ruskin – or his place as a twenty-first century visionary. His views on the environment, social justice and the power of nature – reflect ever more urgent contemporary concerns. Indeed his relationship with drawing as a mechanism to truly engage with the world (literally the power of seeing) has a direct line to mindfulness (the subject of a Two Temple Place exhibition activity) and his tireless argument for holistic improvements in the lives of ordinary working people would be understood today as part of the wellbeing (and potentially anti-austerity) agenda.

It is also easy to be wary and critical of Ruskin. His alleged inability to consummate his marriage to Effie Gray does nothing to endear him to modern audiences. Equally, in middle-age his at best, unfortunate and misguided, apparent fixation on children has since provoked every emotion from unease to revulsion. These are the controversies for which in the years since, he has at times been best known. Though with contemporary eyes it is also easy to see the roots of at least some of this in a closeted up-bringing, that was bizarre even by the standards of the time. It is also easy to berate Ruskin for his pronouncements on the working class and how they should better live, from a place of financial and social safety – though in the Victorian era (and indeed today), he is hardly alone in this.

‘The Power of Seeing’ avoids these issues completely – and therein lies one of its strengths – in removing the conventional smokescreen of controversy that has surrounded Ruskin – the visionary nature of his work shines through, with a clarity hitherto unseen. In these complex and divided times Ruskin appears to speak from a simpler age and his voice is all the louder for it.

The Power of Seeing is a valuable contribution to what is already a year of renaissance for Ruskin.

Winter Lights – Canary Wharf

I know the year is well and truly underway when once again it is time to wrap up warm and head out into the night at Canary Wharf for Winter Lights. Now in its fifth year this celebration of all things light has, like so much of the Wharf’s Arts and Events scene, embedded itself in my annual calendar.

The arrival of‘ Sasha Trees’ in Westferry Circus early in the new year reminded us that Winter Lights was on the way. The appearance of neon firs so soon after Christmas was a welcome festive reminder – and provided a taster of what was to come. The environment and our relationship with it are the underlying themes of this year’s ‘Lights’. Referenced in a number of installations utilising movement and sound to encourage reflection not only on our planet and the impact of our actions upon it, but also consideration of our responsibilities to the other life we share it with.

‘Whale Ghost’ (Cubitt Steps) is an emotionally haunting work. A skeletal frame and whale song soundtrack portray a simultaneous power and vulnerability. As the (I presume) life-size undulating Whale skeleton ‘swims’ alone above us we wonder whether this is the last Whale?

Whale Ghost – Cubitt Steps

‘The Last Parade’ (Crossrail Place) is unobtrusive, located as it is ‘on the shore’ of the water feature below. It would – just about – be possible to pass by and not notice it and I suspect this is partly the point. This is an engaging and atmospheric work both because of the evocative soundtrack of animal calls, and the random and sometimes surprising nature of what comes next – as in nature itself. I found myself viewing this next to a lady out walking her dog. I’m not sure who was more enthralled – us or the dog – as he struggled to comprehend these creatures and their sounds, appearing and then fading. The Last Parade reminds us of both the dangers of complacency and that time is running out – as some of these animals fade away for what may be the last time.

The Last Parade – Crossrail Place

‘Plastic’ and ‘waste’ were the environmental concerns of 2018. Nowhere are these more evident than in ‘Recyclism’ – a new platform for artists with a concern for the environment. The futuristic worlds exhibited are built entirely from waste materials including old electronics and packaging. Headsets are available as you enter Recyclism and bring colonies on Mars and other imagined worlds to life sufficiently that we are experiencing a future slightly more believable than science fiction.

Recycled Future – from Recyclism

Submergence (Montgomery Square) – the largest version of this work ever shown – with 24,000 individual lights and the opportunity to immerse oneself – literally inside the installation – will I imagine, be the Instagram hit of the 2019 ‘Lights’.

Submergence – Montgomery Square

The Canary Wharf estate is constantly growing and evolving and once again this Winter Lights utilises an area of the Wharf ‘under construction’ – namely ‘Two Hearts’ projected onto Newfoundland Place (viewed from Cubitt Steps). This is probably the largest of the installations – and one of the most prominent. Though for sheer ethereal eeriness 2018’s use of the then uninhabited, Level -3 at Crossrail Place is hard to beat.

As in previous years part of the Wharf’s substantial permanent outdoor at collection – ‘We Should Meet’ (Crossrail Place), ‘Lightbench’ (Canada Square Park), and ‘BIT.Fall’ (Chancellors Passage) – is included. Although not ‘officially’ an installation, the Cabot Square fountains – featuring lights and movement synchronised to music – have a Las Vegas-esque quality about them – complete with a movie theme soundtrack – and as ever the stunning backdrop of One Canada Square.

Finally, another regular – the simply beautiful ‘Angel’s of Freedom’ – also returned this year. Always popular (who doesn’t love an Angel?) and what a great selfie backdrop. The underlying sentiment – ‘everyone can become an Angel in their own way’ – has obvious appeal – not least when our planet needs us all to be guardian angels now more than ever.

Angels of Freedom – various locations

Canary Wharf Winter Lights 2019 – on now until Saturday 26th January.

Downland a map and brochure from

Canary Wharf Arts and Events

https://canarywharf.com/arts-events/events/winter-lights-2019/?instance_id=

Remembrance Art Trail – Canary Wharf

In these final days of the World War I Centenary, Canary Wharf is again staging a Remembrance Art Trail produced by the artist Mark Humphrey in collaboration with the Royal British Legion (RBL). Returning to the Wharf for the first time since 2014 the Trail includes six of the previous works, with five others seen together for the first time.

Every One Remembered – Jubilee Plaza

On exiting Canary Wharf tube station into Jubilee Plaza one is immediately confronted with ‘Every One Remembered’ – a 7m high Perspex box containing a bronze sculpture of the centenary soldier. A thoughtful figure periodically surrounded by swirling poppies symbolising his comrades remembered. Being both imposing and yet simultaneously quite personal, this sets the tone for the Trail.

Nearby, in Montgomery Square ‘Lost Soldiers’ is the only major work to incorporate personal items that were used in battle. The positioning of helmets on top of poles mirroring the WWI practice of staking the rifles of badly injured soldiers in the ground near where they lay, and placing their helmet on top to advise others of their presence amidst the chaos. Including as it does helmets worn in all major conflicts from WWI to Mosul in 2016, this is an entirely sobering work, in particular the decimated helmet from the Somme, and the pole with no helmet, signifying conflict to come.

Lost Soldiers (Montgomery Square)

The 2018 Trail demonstrates effective use of contrasting scale to evoke emotion. Nowhere is this more apparent than in ‘Lost Armies’. The positioning of a pristine pre-battle army, and its dismembered post-engagement remains – either side of a path in Jubilee Park, is all the more effective for the fact that the armies are in miniature against the backdrop of a giant tree species. Behind the ‘battle scene’, two large heads (by implication belonging to leaders) appear to argue, as if oblivious to the destruction around them.

Lost Armies (Jubilee Park)

Fallen Soldier (Cabot Square) occupies one of this year’s most iconic backdrops (One Canada Square), and within the context of the trail can be read in two ways. From tubes almost full with poppies to those containing almost none, representing successive loss, and in the other direction from less to more, representing the journey of the injured towards rehabilitation and hope.

Fallen Soldier (Cabot Square)

The Canary Wharf Estate being both relatively compact and accessible, lends itself to art on a grand scale. Yet the inclusion of photographs of members of Mark Humphrey’s family who served, together with the polished and engraved (Somme 1916) shell case carved at the frontline by his Great Grandfather, bring a very personal and human element to this exhibition.

Brass Shell Case carved by Mark Humphrey’s Great Grandfather

These items are exhibited in the foyer of One Canada Square, appropriately shown together with Humphrey’s two collaborations with former serviceman Nick Beighton, which are also deeply personal in nature. These chronicle Beighton’s journey from the attack in Afghanistan 2009 in which he lost his legs, through pain and the darkness of depression to his success as a Para-canoeist in the 2016 Paralympics. Panel 4 of ‘Trauma to Champion’ entitled ‘Darkness’ is almost completely black with a singular pinpoint of light – and by association – hope.

Nick Beighton Part 1 (Trauma to Champion:Windows of the Soul)

Positioned across the Wharf in strategic locations with some iconic backdrops, the Trail has a slightly epic quality. Like much of the other work produced for the centenary, these exhibits are gifts to the ‘Instagram age’. They are also designed to provoke response, and to encourage all of us – whether rushing to or from work – or making a special visit – to stop and reflect on the nature of sacrifice. However it is also a thoughtful collection which serves to both remind us of what we owe to those who made the ultimate sacrifice, while also considering the nature of recovery and redemption – a distinctive feature of the 2018 Trail.

Canary Wharf is a particularly (and perhaps to some surprisingly) apt, location for remembrance. The docks on which the estate stands took the full force of London’s Blitz. Their location as both a supply hub and site of manufacturing (key components of the Mulberry Harbours for D-Day were made nearby) making them an obvious target. But there is also a more contemporary resonance – over 50% of the current security staff in the Wharf are former members of the armed forces, and the 2018 Trail successfully takes its focus beyond remembrance and the honour of sacrifice, to encompass the redemption of a life beyond injury and loss.

The Wharf also lends itself to remembrance in other ways. Its squares and gardens are carefully designed and themselves encourage personal reflection – indeed Mark Humphrey has spoken of creating ‘a destination’ at which visitors can pay their respects.

During the last four years there has rightly been an intense focus on the Centenary of WWI. With the veterans of that war already gone and those of WWII fast leaving us, there is an urgency to ensure that successive generations understand the events and personal sacrifices that continue to shape the contemporary world. There have been some truly innovative and engaging artistic responses to the Centenary (see ‘At the going down of the sun’ for ‘A Sense of Place’ in 2017 for thoughts on the contemporary relationship between remembrance and art). Humphrey’s work for the Canary Wharf Trails easily stands with the best of this, and may indicate how our national relationship with remembrance could evolve as we move beyond the centenary.

The Remembrance Art Trail Canary Wharf is on until 11th November 2018

Find further information, including a downloadable map and details of walks here.