Public Art

Since opening in 2005 the Spitalfields Estate has fostered a rolling art programme showcasing large scale sculptures in a variety of mediums across the public spaces.

The current display includes works by members of the Royal British Society of Sculptors and recent graduates from some of London’s leading art schools. The exhibitors are Royal British Society of Sculptorsmembers, Michelangelo Arteaga and Graham Guy Robinson. They are showing alongside Ali Grant, and 2014 Royal College of Art graduates, Gabriel Birch and David Teager-Portman.

The varied works encompass both figurative and abstract sculpture made from a variety of traditional and non-traditional materials including bronze, steel, aluminium, concrete, wood and plaster. All the works have been selected to respond to the rich layered history and contemporary vibe of Spitalfields and are on public view in and around Bishop’s Square and in the Charnel House below.

Hollow Reef 2015

Hollow Reef is a mixed media installation made specifically for the reflecting pool at Bishops Square. It celebrates the luxury of everyday consumables such as aluminium, newspaper and printed packaging, materials that are normally taken for granted and discarded. Inspired by the islands of waste packaging floating in the Pacific Ocean the work attempts to imagine a fictional site where these fragments of waste are crushed and eroded, beginning to evolve an un-natural life.

The work aims to question and re-narrate the parameters of everyday experience, asking viewers to think again about products they normally use and discard. These products are the forgotten monuments to our contemporary globalised experience, creating an ecosystem of reference from the everyday.

Gabriel Birch has a BA in Sculpture from the University of Brighton and graduated from the Royal College of Art, London with an MA in 2014. He now lives and works in London.

Choosing the Losing Side 2014

The Last Explorer 2014

David Teager-Portman’s sculptures reflect the history of figurative representation. Playful and questioning, yet at the same time recalling funerary and tomb figures, Choosing the Losing Side and The Last Explorer communicate directly with one another, whilst each existing in their own right. With mask-like bronze faces, the sculptures are covered in a glistening colourful glaze containing layers of pure pigments to achieve the deep colours.

Embrace 2014

Embrace is formed of two identical contiguous shapes, created from two and a half cubes. Paired, these structures provide endless possibilities for a final configuration. Here the two forms are fitted together to provide a notion of shelter and close protection, as may have been needed and offered to the waves of immigrants arriving in Spitalfields.

Intermediate Object

Indeterminate Object draws its form from the idea that ‘permanence is born in flux’. A monument to transience, the orange and mirror-polished steel sculpture is, like Spitalfields, located at a point between the past and the present. An exact replica of familiar orange temporary fencing, it is an object of paradox, both permanent and temporary, absent and present.

In the Jerwood Sculpture Prize 2007 catalogue, The Times Art critic Rachel Campbell-Johnston wrote: “Challenging our preconceptions of outdoor sculpture as solid and monumental, [Graham Guy-Robinson’s] structure seems to question its very status as an object”.

Funded by Arts Council England, Indeterminate Object is the latest in a series of ‘temporary fence’ sculptures made by Guy-Robinson since 2003. Previous work from the series has been selected for and exhibited at Jerwood Sculpture Prize, Northern Print Biennale Newcastle and National Sculpture Prize (winner).

about_art_10_2412385201Guy-Robinson’s studio practice is based at Karst, Plymouth.

Other Artworks Currently on Display

I Goat

The winning design of the Spitalfields Sculpture Prize 2010, Kenny Hunter’s hand-sculpted goat stands atop a stack of packing crates to create the 3.5metre high I Goat, which was inspired by Spitalfields’ rich, ongoing social history.

“Goats are associated with non-conformity and being independently-minded. That is also true of London, its people and never more so than in Spitalfields.” said artist Kenny Hunter at the official unveiling on 20 January 2011.

Scottish sculptor Hunter beat seven other shortlisted designs to win the £45,000 commission. Hunter is known for his monumental sculptures and his works have been exhibited worldwide.

A Pear and a Fig

Ali’s bronze is not just a simple reminder of the days of the market: A Pear and a Fig is a still life, the fruits of which are shown ripe and ready to eat. The fabric and the block create the composition; these fruits are not casual windfalls. Artists have depicted still-lifes since the time of the Romans, as a celebration and a reminder of the opulence that came with commerce.