canary wharf – Later Than You Think

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

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

all text and images – © Later Than You Think

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.

Winter Lights

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Now in its fourth year Winter Lights at Canary Wharf has gone from strength to strength and as apparent by the numbers viewing on the opening night earlier this week, it has become a fixture in the calendar for many Londoners. Expectations were high following, last year’s success at the darc architectural awards (Winter Lights won for ‘Best Creative Lighting Event’ in 2017), and 2018’s offering does not disappoint.

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The programme includes over 30 installations, across the Canary Wharf Estate, ranging from Tom Dekyvere’s Apparatus Florius which is literally woven into the flora of Westferry Circus Park, to the selection of smaller works by Amber Stefani (Amberlights) which give an impression of art deco influence, at Crossrail Place. Most installations are sited outdoors in the Wharf’s parks and public spaces. However 2018 has seen the inclusion of a greater number of indoor works. A welcome development, given the inevitable annual timing of Winter Lights, and an innovative use of some spaces.

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This is particularly true of Level -3 at Crossrail place. This is the location of a new yet-to-be-occupied shopping mall, which will in the near future no doubt be a constant blaze of light and activity. Yet descending into this subterranean space in its current state, which aside from the installation spaces themselves is only dimly lit, encourages a sense of trespass. As though these light creations have quietly inhabited this other world to which we are not (yet) invited, and we observe or participate as intruders. Level -3 shows a wide range of work from the mesmerising and aptly named ‘On Your Wavelength’ (by Marcus Lyall) in which a massive into-infinity light sculpture is controlled by your thoughts via a headset, to the beautiful ‘Reflecting Holons’ (Michiel Martens and Jeske Visser) which has an ethereal almost unsettling feel.

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Another development this year was the inclusion of more individual interactive installations, though I suspect that the queues for those that offer a one-to-one interactive experience – especially Sunlight Graffiti in Jubilee Place and Luma Paint Light Graffiti at the Crossrail Roof Garden, will grow considerably through the run. I only had time to try Sunlight Graffiti which was great fun. Directed where to stand and handed a ‘little sun’ with which to produce my ‘art’ – the photographic evidence of this creation had arrived by email by the time I returned home.
It is impossible with limited time and space to describe in detail all the installations but here are some of my favourites this year…

Polaris (Laurent Font) at Cabot Place, inspired by the northern lights is deceptively simple yet compelling. Luminous green light moves around the small space in constant change and evolution. A peaceful and calming experience.

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Approaching Westferry Circus I expected to view an installation on the green in the middle of the park. It took a minute or two to realise that Apparatus Florius was all around us. Weaving organically through the trees and shrubbery light combined with sound to deliver an ethereal experience reminiscent of walking within a forest at dusk. With added magic.

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I also particularly enjoyed Halo (Venividmultiplex and FosFor Design). The suspension of an apparent giant halo above the fountain in Cabot Square is another great example of Winter Lights working with the existing landscape of the Wharf. When the fountain pool is still the reflection can be mesmerising, and viewed by approaching Cabot Square up the steps from West India Avenue the halo appears to cradle the One Canada Square Tower.

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While Winter Lights has no overall theme a number of this year’s works (Sunlight Graffiti, Polaris, Halo, Apparatus Florius, and Intrude) are inspired by, or reference the natural world and environment, in particular the presence of the sun. A timely reminder of its role in our lives, not least at the stage of the year when we see it least.
Canary Wharf has a growing and well-loved arts scene, with the summer theatre and concerts season drawing large crowds. The Wharf is also home to one of the UK’s largest public art collections – from which several permanent works – Bit.Fall, Lightbenches, and Coup de Foudre II – feature in Winter Lights.

See Winter Lights if you can. Rarely is technology so beautiful. It’s a welcome antidote to the dark post-festive days and many of the works lift the spirits and soothe the soul in ways that are unexpected and endure beyond the evening visit.

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Additional information

Dates: Now until 27th January 2018
Cost: Free
Time: Available 5-10pm.
Travel : Canary Wharf (Jubilee Line, DLR), several bus routes pass through the Wharf, Thames Clippers stop at Canary Riverside (very close to Apparatus Florius)
As far as I am aware all works are accessible to visitors with restricted mobility, though visitors should be prepared for the amount of travel required between (some) sites. Sound is also a feature of many.
Download a map in advance here (hard copies can also be collected from installation locations). Personally I would allow a good 2-3 hours to visit all the sites (not allowing for queuing for some). Warm clothes and comfortable footwear (expect a reasonable amount of walking between locations) are advised, and it can be helpful to plan a route beforehand to ensure viewing as many as possible. Of course the ‘Lights’ are ideally placed to enable viewing a few here and there as you enjoy other activities – and there is no shortage of places (to suit all budgets) across the Wharf for food and drink.