Image: Liliane Lijn’s LOST KOAN at Jubilee Park, Canary Wharf, September 2015.
As part of the exhibition The Multiple Store @ Canary Wharf that takes place from 21st September to 13th November at the Lobby of One Canada Square, visitors will also be able to see large sculptures at Jubilee Park (Monday to Sunday, daylight hours). More details, as well as installation images, below.
All inquiries: please contact The Multiple Store: firstname.lastname@example.org or +44 (0) 7760 666518.
Grenville Davey: House 2008 Steel and oak
The circle or disc is a recurring motif in Grenville Davey’s sculpture. House, an industrially spun steel vessel inverted, rusted and polished to a mahogany sheen, has a wooden handle set centrally, angled parallel to the dome.
Kenny Hunter: Black Swan 2013 Resin
Black Swan typifies Kenny Hunter’s use of anthropomorphic symbolism, the swan evoking human qualities of enduring partnership and love, while also alluding to ‘Black Swan theory’, a term used to describe inexplicable or unexpected events rationalised with hindsight, deriving from the fact that black swans were thought to be an impossibility. The piece exemplifies Hunter’s practice of transmuting historical ideas through sculpture.
Liliane Lijn: Lost Koan 2007 Glass-reinforced polyester, Perspex, fluorescent lights
A relatively recent version in Liliane Lijn’s series focusing on the shape of the cone, Lost Koan has its parallel in the space above the earth’s poles where the solar wind meets with the earth’s magnetic field, referred to by astrophysicist Dr Stephen B. Mende as the ‘lost cone’.
Peter Liversidge: Interstate 2001 Aluminium (3mm), stove enamel, reflective materials, fixings (Edition of 10, published by The Multiple Store)
Interstate is a true-to-scale, reflective, American road sign produced using (federal approved) US Interstate Green and font, also called Interstate. Like my other watercolours and text pieces on the North Montana Plains, a real place which I never visited, ‘Interstate’ is about regret, imagination and hope. The sign to a place I never saw makes it a place I can always imagine. (Peter Liversidge)
Simon Periton: The Hanging Debtor 2013 Spray paint on powder-coated steel
Courtesy of the artist and The Modern Institute/Toby Webster Ltd, Glasgow
The Hanging Debtor is typical of Simon Periton’s decorative ‘cover’ for more serious issues such as politics, popular culture and history. The figure, hanging upside-down, is based on a German illustration from 1438, in which bags of coins in the cloak appear to defy gravity.