winter light – Later Than You Think

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

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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.