CR MARTIN RICHMAN | Float | 2002 | light, glass, steelEXTERIOR The North ColonnadeMartin Richman’s Float was designed to transforman otherwise unremarkable space into an upliftingvisual experience after dusk. His working life beganas a lighting designer in the music industry, but from1985 he started his artistic career exploring themedium of light. He has had numerous exhibitions aswell as permanent public commissions andtemporary projects. In 2010 he completed a schemewith Eric Parry Architects, illuminating the faiencefaçade of a building in Bond Street, London.

CS SINTA TANTRA | A Beautiful Sunset Mistaken for a Dawn | 2012 | paint, with underbridge lighting scheme by LightingDesign International (LDI)EXTERIOR DLR Bridge over Middle Dock Sinta Tantra’s inspiration for her painting schemewas drawn from the natural elements, ever-changinglight and towering buildings of Canary Wharf. Sunsetand sunrise influenced her palette: blues and greysworking well during the day; purples and pinks atnight. LDI’s lighting scheme brings the bridge to lifeat dusk. LED projectors wash soft light from eachend, the colours changing from early to late evening.

CT CHARLES HADCOCK | Helisphere | 2009 | cast ironEXTERIOR Heron Quays DLR StationIn Helisphere Charles Hadcock has combined thecharacteristics of the sphere with that of the helix –a curve in 3-dimensional space. The sphere is madein horizontal sections, which spin out of alignmentwith its skin, causing a curved and steppeddistortion that is the helix curve. Walking around thesculpture provides the viewer with a multiplicity ofgently changing shapes. Helisphere and Torsion II,also in the permanent collection, were shown here inhis exhibition in Jubilee Park in 2011.

CU CATHERINE YASS | Descent: HQ3 | 2002 | photographic lightboxINTERIOR Heron Walk link to Jubilee Place, lower levelDescent: HQ3 is one of three large-scalephotographic images of buildings on the estateunder construction commissioned by Canary WharfGroup. Between November 2001 and January 2002Yass requested permission to take photographs andfilm from one of the Canary Wharf towers underconstruction, for a body of work exhibited for herTurner Prize nomination in 2002. Yass is noted forher films and intensely-coloured photographs thatoften combine the positive and the negative.

DL EMMA BIGGS | Sartor Resartus | 2003 | stone and glass mosaicINTERIOR Heron Walk to Jubilee Place, lower levelEmma Biggs’ Mosaic Workshop is one of Britain’sleading studio workshops, creating walls, floors andsmall-scale artworks using the ancient method ofmosaic. Sartor Resartus depicts a playful collage of the different forms of dress of the office workersof Canary Wharf. Between the two wall panels, afloor roundel shows an amusing collage of footwear,from office brogues to dance slippers. Additionalmosaics by Biggs are found in Cabot Place West and Jubilee retail malls.

DM KEITH RAND | Original Form | 1999 | Douglas firEXTERIOR North Dockside, rear of 25 North ColonnadeOriginal Form was made specifically for Canary Wharfas a part of the Millennium exhibition The Shape ofthe Century, and subsequently purchased for thecollection. Keith Rand (1956–2013) studied sculptureat Winchester School of Art. He moved to Scotlandin 1984, returning to the south-west of England in1996. He established his reputation for innovativesculpture and sensitively informed landscape worksinspired by the natural world, realising his ideasthrough a poetic vision and technical rigour.

DN KATE BLEE | Moving On | 1999 | enamel on glassINTERIOR 25 North Colonnade atrium, ground levelKate Blee is well known for her vibrant textiledesigns, but for this commission at Canary Wharfshe turned her hand to glass for the first time.Moving On explores the process of light and tonewith almost painterly effect. This glass screen ismade up of a series of six panels, each painted witha different shade of strong blue enamel, from‘swimming pool’ blue to cerulean. Blee has undertakenmany public and private commissions and her workcan be found in many public collections.

DO DANIEL CHADWICK | Galaxy III | 2006 | steel, fibreglassINTERIOR West Wintergarden, ground levelThe parabolic fibreglass forms of Galaxy III aresuspended from the glass roof of West Wintergardenin graceful equilibrium, moving almost imperceptiblyin the natural air currents. Created in DanielChadwick’s Stroud workshop, the sculptures aretypical of the commissions for which he has becomeknown: otherworldly organic forms that contrast and complement the open and airy spaces ofcontemporary architecture. He exhibited acomparable mobile in Gloucester Cathedral in 2010.

DP MAUREEN ANNE HOLLEY | The Spirit of East London | 2007 |photographic lightboxINTERIOR West Wintergarden, ground levelMaureen Anne Holley has always been fascinated byLondon: its architecture, urban landscape and people.The Spirit of East London was purchased by CanaryWharf Group from her 2007 degree exhibition at theUniversity of East London, a photographic montageset within a composite lightbox that captures thespirit and atmosphere of docklands, the vibrancy ofregeneration as well as her East End childhood,where her father worked in the Royal Docks.

DQ IGOR MITORAJ | Testa Addormentata | 1983 | bronzeEXTERIOR Bank Street, outside West WintergardenThree sculptures by Polish artist Igor Mitoraj (1944–2014) are found at Canary Wharf, representing someof the themes that occupied him: here the bandagedface of Testa Addormentata (‘Head Asleep’). Hisenigmatic works combine the surreal with theantiquity of Greece and Rome. His earlier sculpturewas predominantly in terracotta or bronze, but heturned to marble following a trip to Carrara, Italy in 1979. In 2012 he was awarded the KnightCommander’s Cross, one of Poland’s highest honours.

DR CHARLES HADCOCK | Torsion II | 2009–11 | cast ironEXTERIOR Bank Street, outside Jubilee ParkCharles Hadcock’s Torsion II has been described asbeing like a stairway to the stars. It is an example ofthe artist’s practice of revisiting his sculptures overtime, transforming them in the process, part of hisstrategy to kick-start new ideas and new sources ofinspiration. Here Hadcock added further sections toan existing work Torsion I, already a tall spirallingform, as he was preparing for his exhibition inCanary Wharf’s Jubilee Park in Spring 2011. Torsion IIand Helisphere were purchased for the collection.

DS KONSTANTIN GRCIC | Six Public Clocks | 1999 | steel, glassEXTERIOR Reuters Plaza Six Public Clocks by Konstantin Grcic was thewinning design in a competition inviting proposalsfor this public space. His playful installation is basedon the iconic Swiss railway clock but here each ofthe 12 faces shows a single and different numeral.German designer Grcic is best known for hisfurniture and product design. Based in Munich butworking internationally, Grcic has won numerousprestigious awards, such as Honorary Royal Designerfor Industry awarded by the RSA in 2009.

DT SERGIO FERMARIELLO | Guerrieri (Warriors) | 2013 | aluminium laser cut-out, painted INTERIOR One Canada Square lobby, ground levelInitially studying sciences at the University ofNaples, Sergio Fermariello soon turned his attentionto art, focussing on ideas around collectiveunconscious memory. In 1993 he represented Italy atthe Venice Biennale with a body of work developinghis exploration of ‘The Warrior’, taking archetypalsymbols and shapes from antiquity and mythology.In 1995 he began making works that were partpainting part sculpture, as shown in the works here.

DU WILLIAM TURNBULL | Blade of Venus | 1985 | bronzeINTERIOR One Canada Square lobby, ground levelBlade of Venus by William Turnbull (1922–2012) ispart of a series of bronzes that originated in theshape of Japanese swords and Chinese choppingknives. The metamorphosis of these hiddenreferences adds an element of ambiguity and thesurreal, giving the image a wide frame of referenceand a compelling figurative identity. WilliamTurnbull’s bronzes are distinguished by a richcontrast in surface, patina and detail, which create a kind of skin.

EL MICHAEL LYONS | Unity of Opposites: Vortex | 2001 | copper, patinated and waxedEXTERIOR Adams PlaceUnity of Opposites: Vortex is one of a number ofworks inspired by Michael Lyons’ visits to China, forwhose culture he developed a deep affinity. Echoingthe writings of Chinese philosophers, this sculpturehas been described as embodying the tensionswithin modern society between materialisticcravings and spiritual needs. This work and anothersculpture, Shepherd of the Sun, were purchasedfollowing Lyons’ exhibition at Canary Wharf in 2014.

EM KEITH MILOW | Twentieth Century Thames | 1998 | oxidised ironINTERIOR One Canada Square lobby, ground levelTwentieth Century Thames, Keith Milow’s series ofworks for Canary Wharf’s signature building, aremillennial in their conception. If you look closely atthe apparently rusty discs, hundreds of embossednames are revealed. Some are immediatelyrecognisable, others more obscure, but all are artists,composers, writers and architects who made theirmark in the twentieth century. A prolific sculptor,painter and installation artist, Milow has exhibitedextensively since the 1960s.

EN LAWSON OYEKAN | Trail with Light (LIP) Series | 1998 | terracottaINTERIOR One Canada Square lobby, ground levelFour works from Lawson Oyekan’s series Trail withLight are on permanent display in One CanadaSquare, rough-hewn terracotta vessels that havebeen described by Oyekan as reflecting emotionalexperiences in their surface treatment. They look asif they have been exploded and put back togetheragain. Oyekan was born in South London and raisedin Nigeria. In 2001 he won the Grand Prix Award inthe 1st World Ceramic Biennale, held in Korea. Hehad a solo exhibition at Canary Wharf in 2011.

EO MICHAEL LYONS | Shepherd of the Sun | 1994 | steel, paintedINTERIOR Park Pavilion, upper levelWhile creating Shepherd of the Sun Michael Lyonsbegan to think of the good shepherd of Christianity,but the discs also seemed to have a planetary orsolar reference, bringing a more primitive or paganassociation. Both notions are reflected in the title:Orion, the mythological hunter, is often referred toas The Shepherd and the constellation is associatedwith the sun-god. This work and Unity of Opposites:Vortex were purchased following Lyons’ exhibition atCanary Wharf in 2014.

EP DO KÖNIG VASSILAKIS | Tree | 2003 | bronzeINTERIOR 40 Bank Street lobby, ground levelDo König Vassilakis’ work is strongly influenced bythe mythology and the culture of Ancient Greeceand Rome. Her long-standing partnership with theGreek artist Takis, who she met in 1968 at the VeniceBiennale, led to extensive travel, returning to Greecein 1974. Their close friendship with leading artistsactive during the 1960s and 1970s, including SalvatorDali, Max Ernst and Arman, served to infuse her workwith a surrealist edge, beautifully expressed in thisbronze tree.

EQ RACHAEL WOODMAN | Vertical 40 | 2004 | glassINTERIOR 40 Bank Street lobby, ground level Rachael Woodman’s tall elegant, glass pieces werecreated especially for 40 Bank Street and theymirror the far-reaching skyscrapers that surroundthe building. Her work shows a concern for simplicityof line and purity of form, whilst the subtle colourscelebrate the inner beauty of glass. Woodman hasworked in the medium for many years, and herglasswork is found in a number of public collections,including the V&A Museum and the ContemporaryArts Society.

ER BOB ALLEN | It Takes Two | 2002 | bronzeEXTERIOR Canada Square ParkFollowing a serious operation, Bob Allen wasadvised to take up carving to strengthen his left arm.Discovering he had talent, Allen began creatingsculpture, taking his inspiration from nature, oftencarving wood using traditional tools and working inthe open air. It Takes Two is a bronze cast of acarving from the fallen bough of an ancient EnglishYew listed in the Domesday Book. Allen’s aim is toreveal the hidden quality in the wood. Here it wasthe female form that emerged first, later a male form.

ES ALISON CROWTHER | Kidney I | Kidney II | 2008 | green oakINTERIOR 40 Bank Street lobby, ground levelAlison Crowther is both a sculptor and a furnituremaker. Her preferred medium is green oak, whichshe always tries to source from sustainablewoodland. Kidney I is carved in direct relation to themedullary rays of the wood, the carving followingthem from ‘top’ to ‘bottom’ of the form. Kidney IIrelates to the annual rings on the wood, the ripplingsurface and carving marks following their concentric‘rings’ around the form. Gentle forms, they appear assoft and malleable as kidney would be.

ET DO KÖNIG VASSILAKIS | Angelo I | 2000 | bronze, steel, glass, gilded ceramicINTERIOR 40 Bank Street lobby, ground level Angelo I was the second work by Do König Vassilakisto be purchased for Canary Wharf’s permanentcollection. Like Tree, this sculpture graces the lobbyof 40 Bank Street and reflects the artist’s keeninterest in Greek mythology and culture, as well as inSurrealism. Both pieces were cast in Italy where theartist has lived since 1989, using the foundries ofPietrasanta and Impruneta. A third sculpture by theartist is located in Westferry Circus Gardens.

EU JENNIE MONCUR | Redberries | Blueberries | 1990 | paint on linenINTERIOR 40 Bank Street lobby, ground levelJennie Moncur works mainly in textiles to createsumptuous and robust woven designs. Asunexecuted designs for tapestries, her Redberriesand Blueberries paintings echo the same bold shapesand bright colours as the weavings, abstracting andjuxtaposing traditional and decorative references.Moncur has carried out a number of large-scalecommissions in different media, including thelinoleum floor at the Institute of Contemporary Arts,London in 1987, reinstated in 2008.

FL EMMA BIGGS | Wharf Walk | 2003 and 2013 | stone and glass mosaicINTERIOR Jubilee Place retail mall, lower levelEmma Biggs’ Wharf Walk takes us through theJubilee Place shopping mall, following a trail of floormosaics depicting some of the trades passingthrough the dockyards that flourished here in earliertimes. Each image is framed by a piece of evocativetext, derived from Biggs’ careful research for thecommission in 2003. In 2013, when the mall wasextended to a lower floor, Biggs was invited tocreate four new mosaics on the same theme. WharfWalk now comprises 17 floor mosaics in all.

FM SOPHIE SMALLHORN | Colour West | 2004 | vinylINTERIOR Jubilee Line Station, north-west escalatorsto retail mall, lower levelGeometry and flat saturated colour are the focalpoints of Sophie Smallhorn’s practice. Her palette ofcoloured vinyls is deceptively simple: proportion andcomposition are manipulated to create playful andpleasing juxtapositions. Smallhorn trained infurniture design, and moved into sculpture aftergraduating. She has since undertaken a range ofinternational exhibitions and commissions, includingan installation in One Canada Square in 2004.

FN ALEXANDER BELESCHENKO | Art Glass Wall | 2002 | antique mouth-blown glassINTERIOR Citigroup, ground levelNot publicly accessible without permission from Citi.

Alexander Beleschenko specialises in architecturalglass, using a variety of techniques to producebeautiful and dramatic effects. His two glass wallsfor Canary Wharf demonstrate different aspects ofhis work. Both are illuminated through computercontrolled lighting, creating slowly changing effects.Here ‘walls of light’ create a corridor made of antiquemouth-blown glass infilled with white resin.

FO ALEXANDER BELESCHENKO | Art Glass Wall | 2002 | glass, lightingINTERIOR Citigroup entrance, Canada Place retail mall,lower levelNot publicly accessible without permission from Citi.

Alexander Beleschenko’s second glass wall forCanary Wharf is visible from the public walkway.Here he employed a new technique using pouredresin infill combined with enamel glass to createswirling shapes. Beleschenko has undertakennumerous public commissions, including works forthe Welsh Assembly Building in Cardiff, the MetOffice in Exeter and Millennium Place in Coventry.

FP SOPHIE SMALLHORN | Colour East | 2004 | vinylINTERIOR Jubilee Line Station, north-east escalatorsto retail mall, lower levelGeometry and flat saturated colour are the focalpoints of Sophie Smallhorn’s practice. Her palette ofcoloured vinyls is deceptively simple: proportion andcomposition are manipulated to create playful andpleasing juxtapositions. Smallhorn trained in furnituredesign, and moved into sculpture after graduating.She collaborated with Populous Architects to designa spectrum of colours for the exterior ‘Wrap’ andinternal features of the 2012 Olympic Stadium.

FQ RON ARAD | The Big Blue | 2000 | glass fibreEXTERIOR Canada Square ParkThe Big Blue functions as a remarkable visual eventwithin Canada Square Park, visible both from groundlevel and from the towering buildings that surroundthe park, as well as acting as illumination for theshopping mall below. A huge, asymmetric glass fibreobject, it rests on a ring of structural glazing thatmakes it appear to float above the ground. Ron Aradis one of Britain’s most inventive designers, whosework crosses boundaries between art, design andarchitecture.

FR ANTONI MALINOWSKI | Untitled | 2000 | acrylic on canvasINTERIOR Canada Place retail mall, lower levelAntoni Malinowski’s painting in brilliant blue isexecuted in his trademark pure pigment, resulting ina vivid and vibrant matt finish. It evokes dreams ofriver currents, shoals of fish, and the gentle play of light on water. The original floor of the adjacentmall, since replaced, was designed by Malinowski. He has undertaken a number of public commissionsworking with architects Haworth Tomkins, whichinclude the Royal Court Theatre, London where hecreated a wall drawing of 86 square metres.

FS TERENCE WOODGATE | Seating | 2000 | bead-blasted aluminiumINTERIOR Canada Place retail mall, lower levelTerence Woodgate designed the public seating inthe Canada Place retail mall to complement theoriginal floor design by Antoni Malinowski, sincereplaced, which evoked a sense of water. In response,Woodgate decided to create aluminium seating withinvisible fixings that appear to float like rafts acrossthe floor and reflect the light from above. Woodgateestablished his design studio in 1988 specialising infurniture and lighting, and has designed publicseating for many varied environments.

FT MICHAEL BRENNAND-WOOD | Flight Paths | 2005 | mosaic, wood, metalINTERIOR East Wintergarden, ground levelPrimarily known as a textile artist, Michael Brennand-Wood created Flight Paths in response to thecolours, textures and architecture of the EastWintergarden. Four constructed relief panels hang in pairs either side of this airy glass-roofed space,each panel comprised of layers of tracks made up oftiny mosaic tiles in red, white, black and grey. Likedrawings suspended in air, the works arediagrammatical interpretations of the wing tipvortexes alluded to in the title, Flight Paths.

FU EILIS O’CONNELL | Under and Over II | Under and Over IV | 2000 | bronzeINTERIOR 50 Bank Street lobby, ground levelOriginally produced in birchwood, resin and plasterthese sculptures were realised in bronze for CanaryWharf, following her exhibition here in 2002. Eachcreates a sense of enclosure or the impression of agarment recently vacated. The forms reflect thepliable nature of the original wooden sheets thatO’Connell dampened and bent into shape, clampingthem into position to dry. Her attention to surfacedetail has been meticulously translated into thecarefully worked patina of the bronze.

GL IGOR MITORAJ | Centauro | 1984 | bronzeEXTERIOR Montgomery SquareIgor Mitoraj’s Centauro shows the great mythologicalbeast partially incomplete but ready for battle. Atruly European artist, Mitoraj (d.2014) was born inEast Germany of Polish/French parents and initiallystudied classical painting in Krakow before movingto Paris in 1968. He began experimenting withsculpture following a visit to South America andthen embarked on a series of study trips to Greece.Two other sculptures are located on the estate, inColumbus Courtyard and outside West Wintergarden.

GM NIGEL ROSS | Cross Way | 2003 | European larch | Arbor | 2013 | oakEXTERIOR Montgomery SquareCross Way and Arbor were each carved by handfrom single tree trunks. A self-taught sculptor, NigelRoss developed his skills after working as a treesurgeon in London and as a forest contractor on theIsle of Arran. By the mid-1990s he was working full-time as a sculptor and maker, usually using fallen treesand taking inspiration from the rhythms and energyof nature. Based in Dunkeld, Perthshire, some of hisworks have a functional element and his sculpturalbenches are found in rural and urban settings.

GN DANNY LANE | Parting of the Waves | 2003 | glass, steelINTERIOR 20 Canada Square lobby, ground levelDanny Lane is well known for his monumentalsculptures made of horizontally stacked glass. Hiswork ranges from the design and production ofglass furniture combined with wrought iron, to large-scale architectural commissions that incorporateboth engraving and stacking techniques. At CanaryWharf he explored for the first time the potential ofstacking in the vertical and created two undulatingglass walls, which transform this space into anexperience likened to the ‘parting of the seas’.

GO SURESH DUTT | Drawing Cube (Blue) | 2010 | mild steelEXTERIOR Montgomery SquareSuresh Dutt was the winner of the First@108 PublicArt Award in 2010, the second year of this award bythe Royal British Society of Sculptors to provide anopportunity for artists new to public art to create alarge-scale sculpture commission. The Award wassponsored by Canary Wharf Group in its first twoyears. Part of the Award was the opportunity todisplay the finished sculpture at Canary Wharf, andDrawing Cube (Blue) has now been added to CanaryWharf’s permanent collection.

GP EILIS O’CONNELL | Sacrificial Anode | 2007 | cast bronze, stainless steelEXTERIOR Montgomery SquareMade in varying materials from steel and bronze toplastics and found objects, Eilis O’Connell’ssculptures show her meticulous attention to surfacedetail and close observation of the world around her.A ‘sacrificial anode’ refers to an anode attached to a metal object, such as a boat or underground tank,in order to inhibit its corrosion. This sculpture waspurchased following O’Connell’s exhibition in JubileePark in Spring 2013. Two other sculptures by theartist are found in 50 Bank Street.

GQ BILL CULBERT | Coup de Foudre II | 2009 | neonINTERIOR Churchill Place retail mall, lower levelBill Culbert is one of the world’s leading light artistsand has been working in this medium for over fortyyears, with works in public collections worldwide. His neon light sculpture, Coup de Foudre II, consistsof lines of coloured light that move effortlesslyinside and outside the building creating the illusionof one continuous piece. It was fabricated by theBirmingham-based City Neon Sign Company Ltd,whose director Laszlo Gregor has collaborated withCulbert and other artists.

This map is designed to enable you to find and identify all the works of art on the estate purchased, commissionedor loaned by Canary Wharf Group.

These include stand-alone pieces and integrated artist-architecturalworks, allexecuted bysome of themost inspiredartists, designersand craftsmen of today.

The works are numbered sequentially as to their location on theestate from west to east, and the text indicates whetherthey are sited inside or outside.

Art MapPUBLIC ART AT CANARY WHARF

CWG 18pp Art Map 4th edition_Layout 1 26/03/2015 13:32 Page 11

This map is designed to enable you to find and identify all the works of art on the estate purchased, commissionedor loaned by Canary Wharf Group.

These include stand-alone pieces and integrated artist-architecturalworks, allexecuted bysome of themost inspiredartists, designersand craftsmen of today.

The works are numbered sequentially as to their location on theestate from west to east, and the text indicates whetherthey are sited inside or outside.

ArtMapPUBLIC ART AT CANARY WHARF

CWG 18pp Art Map 4th edition-revise 210x99mm v10_Layout 1 04/11/2015 15:08 Page 1

CM GILES PENNY | Two Men on a Bench | 1995 | bronzeEXTERIOR Cubitt StepsGiles Penny’s Two Men on a Bench is a large bronzework in the classical figurative tradition, which has acontemplative air as well as an element of fun.Simplified surfaces and contours imbue it with amonumental presence and narrative sculpturallanguage. Penny came to the attention of the CanaryWharf when this and another of his bronzes, Manwith Arms Open, were shown as part of theMillennium exhibition The Shape of the Century in1999. Both works were subsequently purchased.

CN PHILIP JACKSON & SOM | Bronze Bowls | 1992 | bronzeEXTERIOR Cabot SquarePhilip Jackson CVO is best known for his figurativebronze sculptures, such as the equestrian statue ofthe Queen commissioned for her Golden Jubilee, thememorial statue of The Queen Mother in The Mallunveiled in 2009, and his group of seven figures forthe Bomber Command Memorial in Green Park in2012. At Canary Wharf he worked with architectsSkidmore, Owings & Merrill (SOM) to design theunique planters for the entrance steps into CabotSquare, and also found at Wren Landing.

CO JON BUCK | Returning to Embrace | 1999 | bronzeEXTERIOR 10 Cabot Square forecourtJon Buck’s sculpture appears to show a couplelocked together, gazing into each other’s eyes.Closer examination reveals a strange fusion of forms,their bodies so far intertwined as to have become asingle organism. Central to Buck’s work is an interestin our connection to the natural world and hisfigures depict not only men and women but alsoMan and Nature. He has long been fascinated by artoutside the Western tradition, particularly Africansculpture.

CP JAMES HORROBIN & SOM | Promenade Railings | 1992 | steelEXTERIOR Mackenzie Walk and dockside perimeterA master craftsman in architectural and domesticforged ironwork, James Horrobin worked witharchitects Skidmore, Owings & Merrill (SOM) todesign two sets of railings for Canary Wharf. ThePromenade Railings along the entire perimeter ofthe docks were designed with a gentle sweepingbow, echoing sails on a sailing boat. Horrobin hascreated a wide diversity of works, encompassingarchitectural, ecclesiastic, domestic and sculpturalpieces.

CQ EMMA BIGGS | Pattern for Democracy | 2008 | mosaicINTERIOR Cabot Place West retail mall, ground levelEmma Biggs’ floor mosaic for the refurbished retailspace in Cabot Place West, Pattern for Democracy,is a contemporary take on a traditional geometricalfloor. Instead of striving for machine-like precision,elements of the design vary in colour, form and evendirection, the differences combining to create aharmonious whole, much like the way we asindividuals can harness our variety to create abenign society. A second, smaller roundel is locatedat the entrance from Cabot Square.

BR GERALD LAING | Relief Portrait of Michael von Clemm | 1998 | bronzeEXTERIOR Cabot SquareA bronze relief portrait by Gerald Laing set on aPortland stone plinth commemorates Michael vonClemm (1935–1997), ‘investment banker and pioneerof the Euromarkets whose vision helped to createthis financial centre’. Laing first came to fame as oneof the significant British Pop artists in the 1960s,known for paintings that commented on thecontemporary scene. He later focused on sculpture,first abstract then figurative subjects, and undertooka number of high profile commissions.

BS JEFF BELL | Cast Glass Panels | 1992 | cast lead crystalEXTERIOR Cabot SquareJeff Bell’s Cast Glass Panels form the cladding forthe four ventilation shafts in Cabot Square thatservice the car park below, turning the functionalinto a spectacle of light and colour. Born in Yorkshire,Bell established his studio in London in 1986 and hasbuilt up a reputation for making unique cast glasssculpture, furniture and architectural pieces. Heenjoys pushing the boundaries of the application ofhis chosen material and has cast the most unlikelystructures, including a bath tub and a spiral staircase.

BT BRUCE McLEAN | Sculptural Railings | 1992 | steelEXTERIOR Fisherman’s Walk, Wren LandingBruce McLean’s intervention at Canary Wharf is thesculptural railing alongside Fisherman’s Walk. The40-metre long charcoal steel rail is heavily workedwith shapes, faces, circles and squares, true to hisstyle. McLean challenges the traditional structure ofthe railing, subverting the straight line with wit andvigour. McLean has worked on numerousarchitectural schemes in collaboration with architectWill Alsop, including the Queen Mary College School of Medicine & Dentistry in Whitechapel.

BU WALES & WALES | Benches | 1992 | beechEXTERIOR Wren Landing and throughout estateHusband and wife design team Wales & Wales havecreated many of the wooden benches that are foundin Canary Wharf’s exterior and interior spaces. Theirwork is influenced by architecture, characterisedhere by the subtle sensitivity with which the benchesrelate to their surroundings. Wales & Wales originallytrained as cabinet makers, but they soon becamemore interested in the design process and the scaleof their production increased. Their furniture can beseen world-wide.

CL LYNN CHADWICK | Couple on Seat | 1984 | bronzeEXTERIOR Cabot SquareCourtesy of the Lypiatt Studios and Pangolin Editions.

Lynn Chadwick (1914–2003) began his career as anarchitectural draughtsman but after World War II hetook up sculpture. Couple on Seat is one of his laterworks. He produced many pieces with figures invarious positions, following in the tradition ofsculptor Henry Moore. Chadwick created a permanentexhibition of his work at his home at Lypiatt Park inGloucestershire. An exhibition of his work was heldin One Canada Square and Jubilee Park in 2004.

BM TATIANA ORLOFF | Planters | 2001–02 | bronzeEXTERIOR Columbus CourtyardTatiana Orloff is perhaps best known for her portraitsculpture and during her career she has worked in avariety of materials and techniques, which includewelding in mild steel. The mastering of each newdiscipline has had an influence on her work as awhole. These 12 planters reflect her skill in ceramicstransposed here into sculpture in bronze. They areunique, designed specifically for Canary Wharf, andwere originally located either side of a short flight ofsteps in Canada Square Park.

BN LEO STEVENSON | The Hibbert Gate | 2000 | bronze, stoneEXTERIOR Adjacent to North Dock, westThis replica of the main gate was commissioned tocommemorate the original entrance to the WestIndia Docks, built in 1803. The ship on top of thearch is a West Indiaman named Hibbert, which wentto sea between 1785 and 1813 and travelledextensively to the West Indies, bringing back sugar,rum, cotton, coffee and tropical hardwoods. Alldrawings of the ship are now lost but this model byLeo Stevenson was made based on extensive researchinto records of West Indiamen of the period.

BO GILES PENNY | Man with Arms Open | 1995 | bronzeEXTERIOR West India AvenueGiles Penny’s Man with Arms Open is a roughly hewnbronze figure with his head thrown back and armsoutstretched. Penny came to the attention of theCanary Wharf Group when this work, together withanother of his bronzes, Two Men on a Bench, wasshown as part of the Millennium exhibition, TheShape of the Century in 1999, shown in Salisbury and at Canary Wharf. Both sculptures were thenpurchased and form part of the permanent collectionof works of art on the estate.

BP KATY HACKNEY | Willoughby Passage Gate | 1999 | stainless steelEXTERIOR Willoughby Passage, West India AvenueThe design brief for these gates required them to bean ‘open invitation to enter’ rather than a barrier tokeep people out. Scottish-born jeweller KatyHackney took inspiration from the mysteries of thesea and the sky to create an image that looks likethe planets have collided, as well as makingreference to the water that flows around the estate.Other public commissions include commemorativeplaques and medals for the London bombings in 2005.

BQ JAMES HORROBIN & SOM | Cabot Square Railings | 1992 | steelEXTERIOR Cabot SquareA master craftsman in architectural and domesticforged ironwork, James Horrobin worked witharchitects Skidmore, Owings & Merrill (SOM) todesign two sets of railings for Canary Wharf. Theperimeter Cabot Square Railings are reminiscent ofthe cogs on a steam engine, and make a subtleaddition to the ambiance of this popular square.Horrobin has created a wide diversity ofarchitectural, ecclesiastic, domestic and sculpturalworks from his Doverhay Forge Studios in Somerset.

^ HUGH CHAPMAN | Growth Form 2012 | 2012 | bronzeEXTERIOR Westferry Circus Gardens ON LOAN

Hugh Chapman’s Growth Form 2012 was cast at thenearby Bronze Age foundry in Limehouse. Sufferinga head injury as a teenager, Chapman turned hisback on academia to concentrate first on ceramicsbefore turning to photography. He later returned toceramics and sculptural form but soon beganexperimenting in other media, creating larger andbolder works. His work expresses what hisexperiences have taught him: the importance of lifeand light, contrast and reflection.

& ANDREW BURTON | Chimney | 2008 | recycled fired bricks, steelEXTERIOR Westferry Circus Over recent years Andrew Burton has created anumber of works using miniature clay bricks,collaborating with artisans and artists in India, Koreaand the Netherlands, investigating brick-making as avehicle for sculpture. He first visited India in 1983.Close in form to chimneys of brick kilns the worldover, Chimney is also a tribute to India’s tallest brickminaret of the Qutub Minar near Delhi. This workwas first shown at Canary Wharf as part of hisexhibition in Jubilee Park in Spring 2008.

* ROBERT WORLEY | Avatar | 2009 | aluminiumEXTERIOR Westferry Circus Robert Worley ARBS was the winner of theFirst@108 Public Art Award in 2009, a new annualaward by the Royal British Society of Sculptors toprovide an opportunity for artists new to public artto create a large-scale sculpture commission. TheAward was sponsored by Canary Wharf Group, whosubsequently purchased Worley’s sculpture Avatarfor its permanent collection. Avatar portrays a hawk-like beast with a human form embedded in its back.

( IGOR MITORAJ | Centurione I | 1987 | bronzeEXTERIOR Columbus Courtyard Igor Mitoraj (1944–2014) was born in East Germanyof Polish/French parents and studied classicalpainting in Krakow before moving to Paris in 1968,and later travelled in South America. His enigmaticand monumental sculptures combine the surrealwith the antiquity of Greece and Rome. At CanaryWharf there are three of his works, representingsome of the themes that occupied him. Centurione Irepresents the head as an incomplete mask,suggesting the surviving part of an enormous whole.

BL WENDY RAMSHAW | Columbus Screen | 2000 | steel, PerspexEXTERIOR Columbus Courtyard When Canary Wharf commissioned jewellerydesigner Wendy Ramshaw, the Columbus theme ledher to a design based on the navigational chartsused by the great explorer, an apposite choice giventhe proximity of Greenwich and its associations withmaritime history. Ramshaw is best known for herjewellery, intricate brooches and rings, which can beseen at the V&A Museum and other collections, butshe has also tackled large-scale architectural works,such as the Edinburgh Gate at Hyde Park, 2010.

! CONSTANCE DE JONG | Speaking of the River | 2000 | audio benchesEXTERIOR Canary RiversideSpeaking of the River was sponsored by CanaryWharf Group but was part of a wider projectcommissioned by Public Art Development Trust,which linked the river Thames in London with theriver Hudson in New York. De Jong created a gentle,evocative sound-scape using recorded interviewsand stories that relate the human experience of boththese locations, told by people for whom the river isa daily presence. Two audio benches are located100m apart on the riverside promenade.

@ RON ARAD | Windwand | 2000 | carbon fibreEXTERIOR Canary RiversideWindwand is as tall as some of the buildings thatsurround it, a 50-metre high needle made of redcarbon fibre. It was designed to flex gently in thewind, subverting one’s expectations of what tallobjects in this area should do. Ron Arad came toLondon from Israel in 1973 to study at theArchitectural Association and is now regarded asone of Britain’s most inventive designers, whosework crosses boundaries between art, design andarchitecture.

# GIUSSEPPE LUND | Gate | Sculptural Railings | 1992 | steel, bronzeEXTERIOR Westferry Circus GardensInspired by the cycle of the seasons, Lund’s Gateforms the entrance to the gardens at WestferryCircus, a remarkable work that incorporates delicateflowers flowing from a single stem set against achunky grid, complemented by his SculpturalRailings that surround the gardens. Lund has had along career working with metal, and has beeninfluential in encouraging the creative use of metal inthe UK, organising exhibitions and advising bodiesincluding the Crafts Council.

$ DO KÖNIG VASSILAKIS | Sasso Cosmico | 2007 | bronze, steelEXTERIOR Westferry Circus GardensSasso Cosmico, which translated from the Italianmeans ‘Cosmic Stone’, has been installed in thepeaceful garden at Westferry Circus. The reflectivesurface captures the surrounding planting, foliage,architecture, sky and clouds. In this way it provides a constantly changing manifestation of the seasonsand the weather systems. König Vassilakis’ work isstrongly influenced by the mythology and culture of ancient Greece and Rome. Two more of hersculptures are found in 40 Bank Street.

% JAY BATTLE | Vanishing Point | 1999 | Derbyshire stone, steelEXTERIOR Westferry CircusVanishing Point looks a little like the shell of amythical sea creature that has perhaps been washedup from the Thames. The stone has been polished toreveal the natural, lined core. Having trained as astone mason in Canada, Battle came to England tostudy stone carving and in 1997 became HeadCarver at Salisbury Cathedral, contributing to itsconstant restoration works as well as running hisown studio where he creates contemporary, self-expressive work.

Artists and map number key of works

Bob Allen 46Ron Arad 2, 55Jay Battle 5Alexander Beleschenko 52, 53Jeff Bell 17Emma Biggs 25, 30, 50Kate Blee 32Michael Brennand-Wood 58Jon Buck 23Andrew Burton 7Daniel Chadwick 33Lynn Chadwick 20Hugh Chapman 6Alison Crowther 47Bill Culbert 65Constance De Jong 1Suresh Dutt 63Sergio Fermariello 38Konstantin Grcic 37Katy Hackney 14Charles Hadcock 28, 36Maureen Anne Holley 34James Horrobin & SOM 15, 24Philip Jackson & SOM 22

Do König Vassilakis 4, 44, 48Gerald Laing 16Danny Lane 62Giusseppe Lund 3Michael Lyons 40, 43Antoni Malinowski 56Bruce McLean 18Keith Milow 41Igor Mitoraj 9, 35, 60Jennie Moncur 49Eilis O’Connell 59, 64Tatiana Orloff 11Lawson Oyekan 42Giles Penny 13, 21Wendy Ramshaw 10Keith Rand 31Martin Richman 26Nigel Ross 61Sophie Smallhorn 51, 54Leo Stevenson 12Sinta Tantra and LDI 27William Turnbull 39Wales & Wales 19Terence Woodgate 57Rachael Woodman 45Robert Worley 8Catherine Yass 29

Canary Wharf GroupCanary Wharf is under the management and control ofone company, Canary Wharf Group plc, which has beenresponsible for the master planning and development ofthe estate, the construction of its buildings and publicspaces, and their management and maintenance.

At the core of our business lies a commitment to buildthe highest quality environment for the people who workin and visit this area. We have a strong belief in the rolethat artists, designers and craftsmen can play in creatinga more humane and pleasurable built environment. Thiscommitment is demonstrated by the large number of artprojects that have been commissioned, purchased,loaned or facilitated by Canary Wharf Group since the1990s, which are listed below.

Canary Wharf’s Art Programme was recognised by‘Christie’s Award for the Best Corporate Collection andProgramme’ in the International Art & Work Awards 2010. This followed its 2002 Art & Work Award for an‘Outstanding Contribution to Art in the WorkingEnvironment’.

A fully illustrated book, Sculpture at Canary Wharf: A Permanent Collection was published in 2014 and isavailable from the Public Art Office, price £25. This iscomplemented by the earlier book, Sculpture at CanaryWharf: A Decade of Exhibitions, published in 2011.

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Key to symbols

Art works

Jubilee Lineto Canary Wharf

DLR to Canary Wharfor Heron Quays

London BusesD3, D7, D8, 135, 277

For London Transport information visit www.tfl.gov.uk

River BusThames Clippers

Call 0870 781 5049or visit www.thamesclippers.com

0m 50m 100m

0ft 100ft 200ft 300ft

)

CANARYWHARF.COM@YOURCANARYWHARF

FOR FURTHER INFORMATION CONTACTPublic Art, Canary Wharf GroupOne Canada Square, Canary Wharf, London E14 5ABTelephone 020 7418 2000visualart@canarywharf.com

Copyright © Canary Wharf Group 2015

Photographs by Aurelio Amendola, Alexander Beleschenko, Theresa Bergne, Andrew Cross, Rod Dorling, Suresh Dutt, David Hoffman, Melissa Kojan, Joe Low,Michael Lyons, Iain McLean, Peter Matthews & Folio Photography, Heini Schneebeli,Andy Spain, Philip Vile, Richard Waite, Keith Watson, Sally Williams

Designed by Tim Harvey, LondonMap by Rasik VarsaniPrinted by Jamm Print & Production

CWG 18pp Art Map 4th edition_Layout 1 26/03/2015 13:32 Page 2

CM GILES PENNY | Two Men on a Bench | 1995 | bronzeEXTERIOR Cubitt StepsGiles Penny’s Two Men on a Bench is a large bronzework in the classical figurative tradition, which has acontemplative air as well as an element of fun.Simplified surfaces and contours imbue it with amonumental presence and narrative sculpturallanguage. Penny came to the attention of the CanaryWharf when this and another of his bronzes, Manwith Arms Open, were shown as part of theMillennium exhibition The Shape of the Century in1999. Both works were subsequently purchased.

CN PHILIP JACKSON & SOM | Bronze Bowls | 1992 | bronzeEXTERIOR Cabot SquarePhilip Jackson CVO is best known for his figurativebronze sculptures, such as the equestrian statue ofthe Queen commissioned for her Golden Jubilee, thememorial statue of The Queen Mother in The Mallunveiled in 2009, and his group of seven figures forthe Bomber Command Memorial in Green Park in2012. At Canary Wharf he worked with architectsSkidmore, Owings & Merrill (SOM) to design theunique planters for the entrance steps into CabotSquare, and also found at Wren Landing.

CO JON BUCK | Returning to Embrace | 1999 | bronzeEXTERIOR 10 Cabot Square forecourtJon Buck’s sculpture appears to show a couplelocked together, gazing into each other’s eyes.Closer examination reveals a strange fusion of forms,their bodies so far intertwined as to have become asingle organism. Central to Buck’s work is an interestin our connection to the natural world and hisfigures depict not only men and women but alsoMan and Nature. He has long been fascinated by artoutside the Western tradition, particularly Africansculpture.

CP JAMES HORROBIN & SOM | Promenade Railings | 1992 | steelEXTERIOR Mackenzie Walk and dockside perimeterA master craftsman in architectural and domesticforged ironwork, James Horrobin worked witharchitects Skidmore, Owings & Merrill (SOM) todesign two sets of railings for Canary Wharf. ThePromenade Railings along the entire perimeter ofthe docks were designed with a gentle sweepingbow, echoing sails on a sailing boat. Horrobin hascreated a wide diversity of works, encompassingarchitectural, ecclesiastic, domestic and sculpturalpieces.

CQ EMMA BIGGS | Pattern for Democracy | 2008 | mosaicINTERIOR Cabot Place West retail mall, ground levelEmma Biggs’ floor mosaic for the refurbished retailspace in Cabot Place West, Pattern for Democracy,is a contemporary take on a traditional geometricalfloor. Instead of striving for machine-like precision,elements of the design vary in colour, form and evendirection, the differences combining to create aharmonious whole, much like the way we asindividuals can harness our variety to create abenign society. A second, smaller roundel is locatedat the entrance from Cabot Square.

BR GERALD LAING | Relief Portrait of Michael von Clemm | 1998 | bronzeEXTERIOR Cabot SquareA bronze relief portrait by Gerald Laing set on aPortland stone plinth commemorates Michael vonClemm (1935–1997), ‘investment banker and pioneerof the Euromarkets whose vision helped to createthis financial centre’. Laing first came to fame as oneof the significant British Pop artists in the 1960s,known for paintings that commented on thecontemporary scene. He later focused on sculpture,first abstract then figurative subjects, and undertooka number of high profile commissions.

BS JEFF BELL | Cast Glass Panels | 1992 | cast lead crystalEXTERIOR Cabot SquareJeff Bell’s Cast Glass Panels form the cladding forthe four ventilation shafts in Cabot Square thatservice the car park below, turning the functionalinto a spectacle of light and colour. Born in Yorkshire,Bell established his studio in London in 1986 and hasbuilt up a reputation for making unique cast glasssculpture, furniture and architectural pieces. Heenjoys pushing the boundaries of the application ofhis chosen material and has cast the most unlikelystructures, including a bath tub and a spiral staircase.

BT BRUCE McLEAN | Sculptural Railings | 1992 | steelEXTERIOR Fisherman’s Walk, Wren LandingBruce McLean’s intervention at Canary Wharf is thesculptural railing alongside Fisherman’s Walk. The40-metre long charcoal steel rail is heavily workedwith shapes, faces, circles and squares, true to hisstyle. McLean challenges the traditional structure ofthe railing, subverting the straight line with wit andvigour. McLean has worked on numerousarchitectural schemes in collaboration with architectWill Alsop, including the Queen Mary College School of Medicine & Dentistry in Whitechapel.

BU WALES & WALES | Benches | 1992 | beechEXTERIOR Wren Landing and throughout estateHusband and wife design team Wales & Wales havecreated many of the wooden benches that are foundin Canary Wharf’s exterior and interior spaces. Theirwork is influenced by architecture, characterisedhere by the subtle sensitivity with which the benchesrelate to their surroundings. Wales & Wales originallytrained as cabinet makers, but they soon becamemore interested in the design process and the scaleof their production increased. Their furniture can beseen world-wide.

CL LYNN CHADWICK | Couple on Seat | 1984 | bronzeEXTERIOR Cabot SquareCourtesy of the Lypiatt Studios and Pangolin Editions.

Lynn Chadwick (1914–2003) began his career as anarchitectural draughtsman but after World War II hetook up sculpture. Couple on Seat is one of his laterworks. He produced many pieces with figures invarious positions, following in the tradition ofsculptor Henry Moore. Chadwick created a permanentexhibition of his work at his home at Lypiatt Park inGloucestershire. An exhibition of his work was heldin One Canada Square and Jubilee Park in 2004.

BM TATIANA ORLOFF | Planters | 2001–02 | bronzeEXTERIOR Columbus CourtyardTatiana Orloff is perhaps best known for her portraitsculpture and during her career she has worked in avariety of materials and techniques, which includewelding in mild steel. The mastering of each newdiscipline has had an influence on her work as awhole. These 12 planters reflect her skill in ceramicstransposed here into sculpture in bronze. They areunique, designed specifically for Canary Wharf, andwere originally located either side of a short flight ofsteps in Canada Square Park.

BN LEO STEVENSON | The Hibbert Gate | 2000 | bronze, stoneEXTERIOR Adjacent to North Dock, westThis replica of the main gate was commissioned tocommemorate the original entrance to the WestIndia Docks, built in 1803. The ship on top of thearch is a West Indiaman named Hibbert, which wentto sea between 1785 and 1813 and travelledextensively to the West Indies, bringing back sugar,rum, cotton, coffee and tropical hardwoods. Alldrawings of the ship are now lost but this model byLeo Stevenson was made based on extensive researchinto records of West Indiamen of the period.

BO GILES PENNY | Man with Arms Open | 1995 | bronzeEXTERIOR West India AvenueGiles Penny’s Man with Arms Open is a roughly hewnbronze figure with his head thrown back and armsoutstretched. Penny came to the attention of theCanary Wharf Group when this work, together withanother of his bronzes, Two Men on a Bench, wasshown as part of the Millennium exhibition, TheShape of the Century in 1999, shown in Salisbury and at Canary Wharf. Both sculptures were thenpurchased and form part of the permanent collectionof works of art on the estate.

BP KATY HACKNEY | Willoughby Passage Gate | 1999 | stainless steelEXTERIOR Willoughby Passage, West India AvenueThe design brief for these gates required them to bean ‘open invitation to enter’ rather than a barrier tokeep people out. Scottish-born jeweller KatyHackney took inspiration from the mysteries of thesea and the sky to create an image that looks likethe planets have collided, as well as makingreference to the water that flows around the estate.Other public commissions include commemorativeplaques and medals for the London bombings in 2005.

BQ JAMES HORROBIN & SOM | Cabot Square Railings | 1992 | steelEXTERIOR Cabot SquareA master craftsman in architectural and domesticforged ironwork, James Horrobin worked witharchitects Skidmore, Owings & Merrill (SOM) todesign two sets of railings for Canary Wharf. Theperimeter Cabot Square Railings are reminiscent ofthe cogs on a steam engine, and make a subtleaddition to the ambiance of this popular square.Horrobin has created a wide diversity ofarchitectural, ecclesiastic, domestic and sculpturalworks from his Doverhay Forge Studios in Somerset.

^ HUGH CHAPMAN | Growth Form 2012 | 2012 | bronzeEXTERIOR Westferry Circus Gardens ON LOAN

Hugh Chapman’s Growth Form 2012 was cast at thenearby Bronze Age foundry in Limehouse. Sufferinga head injury as a teenager, Chapman turned hisback on academia to concentrate first on ceramicsbefore turning to photography. He later returned toceramics and sculptural form but soon beganexperimenting in other media, creating larger andbolder works. His work expresses what hisexperiences have taught him: the importance of lifeand light, contrast and reflection.

& ANDREW BURTON | Chimney | 2008 | recycled fired bricks, steelEXTERIOR Westferry Circus Over recent years Andrew Burton has created anumber of works using miniature clay bricks,collaborating with artisans and artists in India, Koreaand the Netherlands, investigating brick-making as avehicle for sculpture. He first visited India in 1983.Close in form to chimneys of brick kilns the worldover, Chimney is also a tribute to India’s tallest brickminaret of the Qutub Minar near Delhi. This workwas first shown at Canary Wharf as part of hisexhibition in Jubilee Park in Spring 2008.

* ROBERT WORLEY | Avatar | 2009 | aluminiumEXTERIOR Westferry Circus Robert Worley ARBS was the winner of theFirst@108 Public Art Award in 2009, a new annualaward by the Royal British Society of Sculptors toprovide an opportunity for artists new to public artto create a large-scale sculpture commission. TheAward was sponsored by Canary Wharf Group, whosubsequently purchased Worley’s sculpture Avatarfor its permanent collection. Avatar portrays a hawk-like beast with a human form embedded in its back.

( IGOR MITORAJ | Centurione I | 1987 | bronzeEXTERIOR Columbus Courtyard Igor Mitoraj (1944–2014) was born in East Germanyof Polish/French parents and studied classicalpainting in Krakow before moving to Paris in 1968,and later travelled in South America. His enigmaticand monumental sculptures combine the surrealwith the antiquity of Greece and Rome. At CanaryWharf there are three of his works, representingsome of the themes that occupied him. Centurione Irepresents the head as an incomplete mask,suggesting the surviving part of an enormous whole.

BL WENDY RAMSHAW | Columbus Screen | 2000 | steel, PerspexEXTERIOR Columbus Courtyard When Canary Wharf commissioned jewellerydesigner Wendy Ramshaw, the Columbus theme ledher to a design based on the navigational chartsused by the great explorer, an apposite choice giventhe proximity of Greenwich and its associations withmaritime history. Ramshaw is best known for herjewellery, intricate brooches and rings, which can beseen at the V&A Museum and other collections, butshe has also tackled large-scale architectural works,such as the Edinburgh Gate at Hyde Park, 2010.

! CONSTANCE DE JONG | Speaking of the River | 2000 | audio benchesEXTERIOR Canary RiversideSpeaking of the River was sponsored by CanaryWharf Group but was part of a wider projectcommissioned by Public Art Development Trust,which linked the river Thames in London with theriver Hudson in New York. De Jong created a gentle,evocative sound-scape using recorded interviewsand stories that relate the human experience of boththese locations, told by people for whom the river isa daily presence. Two audio benches are located100m apart on the riverside promenade.

@ RON ARAD | Windwand | 2000 | carbon fibreEXTERIOR Canary RiversideWindwand is as tall as some of the buildings thatsurround it, a 50-metre high needle made of redcarbon fibre. It was designed to flex gently in thewind, subverting one’s expectations of what tallobjects in this area should do. Ron Arad came toLondon from Israel in 1973 to study at theArchitectural Association and is now regarded asone of Britain’s most inventive designers, whosework crosses boundaries between art, design andarchitecture.

# GIUSSEPPE LUND | Gate | Sculptural Railings | 1992 | steel, bronzeEXTERIOR Westferry Circus GardensInspired by the cycle of the seasons, Lund’s Gateforms the entrance to the gardens at WestferryCircus, a remarkable work that incorporates delicateflowers flowing from a single stem set against achunky grid, complemented by his SculpturalRailings that surround the gardens. Lund has had along career working with metal, and has beeninfluential in encouraging the creative use of metal inthe UK, organising exhibitions and advising bodiesincluding the Crafts Council.

$ DO KÖNIG VASSILAKIS | Sasso Cosmico | 2007 | bronze, steelEXTERIOR Westferry Circus GardensSasso Cosmico, which translated from the Italianmeans ‘Cosmic Stone’, has been installed in thepeaceful garden at Westferry Circus. The reflectivesurface captures the surrounding planting, foliage,architecture, sky and clouds. In this way it provides a constantly changing manifestation of the seasonsand the weather systems. König Vassilakis’ work isstrongly influenced by the mythology and culture of ancient Greece and Rome. Two more of hersculptures are found in 40 Bank Street.

% JAY BATTLE | Vanishing Point | 1999 | Derbyshire stone, steelEXTERIOR Westferry CircusVanishing Point looks a little like the shell of amythical sea creature that has perhaps been washedup from the Thames. The stone has been polished toreveal the natural, lined core. Having trained as astone mason in Canada, Battle came to England tostudy stone carving and in 1997 became HeadCarver at Salisbury Cathedral, contributing to itsconstant restoration works as well as running hisown studio where he creates contemporary, self-expressive work.

Artists and map number key of works

Bob Allen 46Ron Arad 2, 55Jay Battle 5Alexander Beleschenko 52, 53Jeff Bell 17Emma Biggs 25, 30, 50Kate Blee 32Michael Brennand-Wood 58Jon Buck 23Andrew Burton 7Daniel Chadwick 33Lynn Chadwick 20Hugh Chapman 6Alison Crowther 47Bill Culbert 65Constance De Jong 1Suresh Dutt 63Sergio Fermariello 38Konstantin Grcic 37Katy Hackney 14Charles Hadcock 28, 36Maureen Anne Holley 34James Horrobin & SOM 15, 24Philip Jackson & SOM 22

Do König Vassilakis 4, 44, 48Gerald Laing 16Danny Lane 62Giusseppe Lund 3Michael Lyons 40, 43Antoni Malinowski 56Bruce McLean 18Keith Milow 41Igor Mitoraj 9, 35, 60Jennie Moncur 49Eilis O’Connell 59, 64Tatiana Orloff 11Lawson Oyekan 42Giles Penny 13, 21Wendy Ramshaw 10Keith Rand 31Martin Richman 26Nigel Ross 61Sophie Smallhorn 51, 54Leo Stevenson 12Sinta Tantra and LDI 27William Turnbull 39Wales & Wales 19Terence Woodgate 57Rachael Woodman 45Robert Worley 8Catherine Yass 29

Canary Wharf GroupCanary Wharf is under the management and control ofone company, Canary Wharf Group plc, which has beenresponsible for the master planning and development ofthe estate, the construction of its buildings and publicspaces, and their management and maintenance.

At the core of our business lies a commitment to buildthe highest quality environment for the people who workin and visit this area. We have a strong belief in the rolethat artists, designers and craftsmen can play in creatinga more humane and pleasurable built environment. Thiscommitment is demonstrated by the large number of artprojects that have been commissioned, purchased,loaned or facilitated by Canary Wharf Group since the1990s, which are listed below.

Canary Wharf’s Art Programme was recognised by‘Christie’s Award for the Best Corporate Collection andProgramme’ in the International Art & Work Awards 2010. This followed its 2002 Art & Work Award for an‘Outstanding Contribution to Art in the WorkingEnvironment’.

A fully illustrated book, Sculpture at Canary Wharf: A Permanent Collection was published in 2014 and isavailable from the Public Art Office, price £25. This iscomplemented by the earlier book, Sculpture at CanaryWharf: A Decade of Exhibitions, published in 2011.

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West IndiaQuay

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Heron Quays Road

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Key to symbols

Art works

Jubilee Lineto Canary Wharf

DLR to Canary Wharfor Heron Quays

London BusesD3, D7, D8, 135, 277

For London Transport information visit www.tfl.gov.uk

River BusThames Clippers

Call 0870 781 5049or visit www.thamesclippers.com

0m 50m 100m

0ft 100ft 200ft 300ft

)

CANARYWHARF.COM@YOURCANARYWHARF

FOR FURTHER INFORMATION CONTACTPublic Art, Canary Wharf GroupOne Canada Square, Canary Wharf, London E14 5ABTelephone 020 7418 2000visualart@canarywharf.com

Copyright © Canary Wharf Group 2015

Photographs by Aurelio Amendola, Alexander Beleschenko, Theresa Bergne, Andrew Cross, Rod Dorling, Suresh Dutt, David Hoffman, Melissa Kojan, Joe Low,Michael Lyons, Iain McLean, Peter Matthews & Folio Photography, Heini Schneebeli,Andy Spain, Philip Vile, Richard Waite, Keith Watson, Sally Williams

Designed by Tim Harvey, LondonMap by Rasik VarsaniPrinted by Jamm Print & Production

CWG 18pp Art Map 4th edition_Layout 1 26/03/2015 13:32 Page 2

CM GILES PENNY | Two Men on a Bench | 1995 | bronzeEXTERIOR Cubitt StepsGiles Penny’s Two Men on a Bench is a large bronzework in the classical figurative tradition, which has acontemplative air as well as an element of fun.Simplified surfaces and contours imbue it with amonumental presence and narrative sculpturallanguage. Penny came to the attention of the CanaryWharf when this and another of his bronzes, Manwith Arms Open, were shown as part of theMillennium exhibition The Shape of the Century in1999. Both works were subsequently purchased.

CN PHILIP JACKSON & SOM | Bronze Bowls | 1992 | bronzeEXTERIOR Cabot SquarePhilip Jackson CVO is best known for his figurativebronze sculptures, such as the equestrian statue ofthe Queen commissioned for her Golden Jubilee, thememorial statue of The Queen Mother in The Mallunveiled in 2009, and his group of seven figures forthe Bomber Command Memorial in Green Park in2012. At Canary Wharf he worked with architectsSkidmore, Owings & Merrill (SOM) to design theunique planters for the entrance steps into CabotSquare, and also found at Wren Landing.

CO JON BUCK | Returning to Embrace | 1999 | bronzeEXTERIOR 10 Cabot Square forecourtJon Buck’s sculpture appears to show a couplelocked together, gazing into each other’s eyes.Closer examination reveals a strange fusion of forms,their bodies so far intertwined as to have become asingle organism. Central to Buck’s work is an interestin our connection to the natural world and hisfigures depict not only men and women but alsoMan and Nature. He has long been fascinated by artoutside the Western tradition, particularly Africansculpture.

CP JAMES HORROBIN & SOM | Promenade Railings | 1992 | steelEXTERIOR Mackenzie Walk and dockside perimeterA master craftsman in architectural and domesticforged ironwork, James Horrobin worked witharchitects Skidmore, Owings & Merrill (SOM) todesign two sets of railings for Canary Wharf. ThePromenade Railings along the entire perimeter ofthe docks were designed with a gentle sweepingbow, echoing sails on a sailing boat. Horrobin hascreated a wide diversity of works, encompassingarchitectural, ecclesiastic, domestic and sculpturalpieces.

CQ EMMA BIGGS | Pattern for Democracy | 2008 | mosaicINTERIOR Cabot Place West retail mall, ground levelEmma Biggs’ floor mosaic for the refurbished retailspace in Cabot Place West, Pattern for Democracy,is a contemporary take on a traditional geometricalfloor. Instead of striving for machine-like precision,elements of the design vary in colour, form and evendirection, the differences combining to create aharmonious whole, much like the way we asindividuals can harness our variety to create abenign society. A second, smaller roundel is locatedat the entrance from Cabot Square.

BR GERALD LAING | Relief Portrait of Michael von Clemm | 1998 | bronzeEXTERIOR Cabot SquareA bronze relief portrait by Gerald Laing set on aPortland stone plinth commemorates Michael vonClemm (1935–1997), ‘investment banker and pioneerof the Euromarkets whose vision helped to createthis financial centre’. Laing first came to fame as oneof the significant British Pop artists in the 1960s,known for paintings that commented on thecontemporary scene. He later focused on sculpture,first abstract then figurative subjects, and undertooka number of high profile commissions.

BS JEFF BELL | Cast Glass Panels | 1992 | cast lead crystalEXTERIOR Cabot SquareJeff Bell’s Cast Glass Panels form the cladding forthe four ventilation shafts in Cabot Square thatservice the car park below, turning the functionalinto a spectacle of light and colour. Born in Yorkshire,Bell established his studio in London in 1986 and hasbuilt up a reputation for making unique cast glasssculpture, furniture and architectural pieces. Heenjoys pushing the boundaries of the application ofhis chosen material and has cast the most unlikelystructures, including a bath tub and a spiral staircase.

BT BRUCE McLEAN | Sculptural Railings | 1992 | steelEXTERIOR Fisherman’s Walk, Wren LandingBruce McLean’s intervention at Canary Wharf is thesculptural railing alongside Fisherman’s Walk. The40-metre long charcoal steel rail is heavily workedwith shapes, faces, circles and squares, true to hisstyle. McLean challenges the traditional structure ofthe railing, subverting the straight line with wit andvigour. McLean has worked on numerousarchitectural schemes in collaboration with architectWill Alsop, including the Queen Mary College School of Medicine & Dentistry in Whitechapel.

BU WALES & WALES | Benches | 1992 | beechEXTERIOR Wren Landing and throughout estateHusband and wife design team Wales & Wales havecreated many of the wooden benches that are foundin Canary Wharf’s exterior and interior spaces. Theirwork is influenced by architecture, characterisedhere by the subtle sensitivity with which the benchesrelate to their surroundings. Wales & Wales originallytrained as cabinet makers, but they soon becamemore interested in the design process and the scaleof their production increased. Their furniture can beseen world-wide.

CL LYNN CHADWICK | Couple on Seat | 1984 | bronzeEXTERIOR Cabot SquareCourtesy of the Lypiatt Studios and Pangolin Editions.

Lynn Chadwick (1914–2003) began his career as anarchitectural draughtsman but after World War II hetook up sculpture. Couple on Seat is one of his laterworks. He produced many pieces with figures invarious positions, following in the tradition ofsculptor Henry Moore. Chadwick created a permanentexhibition of his work at his home at Lypiatt Park inGloucestershire. An exhibition of his work was heldin One Canada Square and Jubilee Park in 2004.

BM TATIANA ORLOFF | Planters | 2001–02 | bronzeEXTERIOR Columbus CourtyardTatiana Orloff is perhaps best known for her portraitsculpture and during her career she has worked in avariety of materials and techniques, which includewelding in mild steel. The mastering of each newdiscipline has had an influence on her work as awhole. These 12 planters reflect her skill in ceramicstransposed here into sculpture in bronze. They areunique, designed specifically for Canary Wharf, andwere originally located either side of a short flight ofsteps in Canada Square Park.

BN LEO STEVENSON | The Hibbert Gate | 2000 | bronze, stoneEXTERIOR Adjacent to North Dock, westThis replica of the main gate was commissioned tocommemorate the original entrance to the WestIndia Docks, built in 1803. The ship on top of thearch is a West Indiaman named Hibbert, which wentto sea between 1785 and 1813 and travelledextensively to the West Indies, bringing back sugar,rum, cotton, coffee and tropical hardwoods. Alldrawings of the ship are now lost but this model byLeo Stevenson was made based on extensive researchinto records of West Indiamen of the period.

BO GILES PENNY | Man with Arms Open | 1995 | bronzeEXTERIOR West India AvenueGiles Penny’s Man with Arms Open is a roughly hewnbronze figure with his head thrown back and armsoutstretched. Penny came to the attention of theCanary Wharf Group when this work, together withanother of his bronzes, Two Men on a Bench, wasshown as part of the Millennium exhibition, TheShape of the Century in 1999, shown in Salisbury and at Canary Wharf. Both sculptures were thenpurchased and form part of the permanent collectionof works of art on the estate.

BP KATY HACKNEY | Willoughby Passage Gate | 1999 | stainless steelEXTERIOR Willoughby Passage, West India AvenueThe design brief for these gates required them to bean ‘open invitation to enter’ rather than a barrier tokeep people out. Scottish-born jeweller KatyHackney took inspiration from the mysteries of thesea and the sky to create an image that looks likethe planets have collided, as well as makingreference to the water that flows around the estate.Other public commissions include commemorativeplaques and medals for the London bombings in 2005.

BQ JAMES HORROBIN & SOM | Cabot Square Railings | 1992 | steelEXTERIOR Cabot SquareA master craftsman in architectural and domesticforged ironwork, James Horrobin worked witharchitects Skidmore, Owings & Merrill (SOM) todesign two sets of railings for Canary Wharf. Theperimeter Cabot Square Railings are reminiscent ofthe cogs on a steam engine, and make a subtleaddition to the ambiance of this popular square.Horrobin has created a wide diversity ofarchitectural, ecclesiastic, domestic and sculpturalworks from his Doverhay Forge Studios in Somerset.

^ HUGH CHAPMAN | Growth Form 2012 | 2012 | bronzeEXTERIOR Westferry Circus Gardens ON LOAN

Hugh Chapman’s Growth Form 2012 was cast at thenearby Bronze Age foundry in Limehouse. Sufferinga head injury as a teenager, Chapman turned hisback on academia to concentrate first on ceramicsbefore turning to photography. He later returned toceramics and sculptural form but soon beganexperimenting in other media, creating larger andbolder works. His work expresses what hisexperiences have taught him: the importance of lifeand light, contrast and reflection.

& ANDREW BURTON | Chimney | 2008 | recycled fired bricks, steelEXTERIOR Westferry Circus Over recent years Andrew Burton has created anumber of works using miniature clay bricks,collaborating with artisans and artists in India, Koreaand the Netherlands, investigating brick-making as avehicle for sculpture. He first visited India in 1983.Close in form to chimneys of brick kilns the worldover, Chimney is also a tribute to India’s tallest brickminaret of the Qutub Minar near Delhi. This workwas first shown at Canary Wharf as part of hisexhibition in Jubilee Park in Spring 2008.

* ROBERT WORLEY | Avatar | 2009 | aluminiumEXTERIOR Westferry Circus Robert Worley ARBS was the winner of theFirst@108 Public Art Award in 2009, a new annualaward by the Royal British Society of Sculptors toprovide an opportunity for artists new to public artto create a large-scale sculpture commission. TheAward was sponsored by Canary Wharf Group, whosubsequently purchased Worley’s sculpture Avatarfor its permanent collection. Avatar portrays a hawk-like beast with a human form embedded in its back.

( IGOR MITORAJ | Centurione I | 1987 | bronzeEXTERIOR Columbus Courtyard Igor Mitoraj (1944–2014) was born in East Germanyof Polish/French parents and studied classicalpainting in Krakow before moving to Paris in 1968,and later travelled in South America. His enigmaticand monumental sculptures combine the surrealwith the antiquity of Greece and Rome. At CanaryWharf there are three of his works, representingsome of the themes that occupied him. Centurione Irepresents the head as an incomplete mask,suggesting the surviving part of an enormous whole.

BL WENDY RAMSHAW | Columbus Screen | 2000 | steel, PerspexEXTERIOR Columbus Courtyard When Canary Wharf commissioned jewellerydesigner Wendy Ramshaw, the Columbus theme ledher to a design based on the navigational chartsused by the great explorer, an apposite choice giventhe proximity of Greenwich and its associations withmaritime history. Ramshaw is best known for herjewellery, intricate brooches and rings, which can beseen at the V&A Museum and other collections, butshe has also tackled large-scale architectural works,such as the Edinburgh Gate at Hyde Park, 2010.

! CONSTANCE DE JONG | Speaking of the River | 2000 | audio benchesEXTERIOR Canary RiversideSpeaking of the River was sponsored by CanaryWharf Group but was part of a wider projectcommissioned by Public Art Development Trust,which linked the river Thames in London with theriver Hudson in New York. De Jong created a gentle,evocative sound-scape using recorded interviewsand stories that relate the human experience of boththese locations, told by people for whom the river isa daily presence. Two audio benches are located100m apart on the riverside promenade.

@ RON ARAD | Windwand | 2000 | carbon fibreEXTERIOR Canary RiversideWindwand is as tall as some of the buildings thatsurround it, a 50-metre high needle made of redcarbon fibre. It was designed to flex gently in thewind, subverting one’s expectations of what tallobjects in this area should do. Ron Arad came toLondon from Israel in 1973 to study at theArchitectural Association and is now regarded asone of Britain’s most inventive designers, whosework crosses boundaries between art, design andarchitecture.

# GIUSSEPPE LUND | Gate | Sculptural Railings | 1992 | steel, bronzeEXTERIOR Westferry Circus GardensInspired by the cycle of the seasons, Lund’s Gateforms the entrance to the gardens at WestferryCircus, a remarkable work that incorporates delicateflowers flowing from a single stem set against achunky grid, complemented by his SculpturalRailings that surround the gardens. Lund has had along career working with metal, and has beeninfluential in encouraging the creative use of metal inthe UK, organising exhibitions and advising bodiesincluding the Crafts Council.

$ DO KÖNIG VASSILAKIS | Sasso Cosmico | 2007 | bronze, steelEXTERIOR Westferry Circus GardensSasso Cosmico, which translated from the Italianmeans ‘Cosmic Stone’, has been installed in thepeaceful garden at Westferry Circus. The reflectivesurface captures the surrounding planting, foliage,architecture, sky and clouds. In this way it provides a constantly changing manifestation of the seasonsand the weather systems. König Vassilakis’ work isstrongly influenced by the mythology and culture of ancient Greece and Rome. Two more of hersculptures are found in 40 Bank Street.

% JAY BATTLE | Vanishing Point | 1999 | Derbyshire stone, steelEXTERIOR Westferry CircusVanishing Point looks a little like the shell of amythical sea creature that has perhaps been washedup from the Thames. The stone has been polished toreveal the natural, lined core. Having trained as astone mason in Canada, Battle came to England tostudy stone carving and in 1997 became HeadCarver at Salisbury Cathedral, contributing to itsconstant restoration works as well as running hisown studio where he creates contemporary, self-expressive work.

Artists and map number key of works

Bob Allen 46Ron Arad 2, 55Jay Battle 5Alexander Beleschenko 52, 53Jeff Bell 17Emma Biggs 25, 30, 50Kate Blee 32Michael Brennand-Wood 58Jon Buck 23Andrew Burton 7Daniel Chadwick 33Lynn Chadwick 20Hugh Chapman 6Alison Crowther 47Bill Culbert 65Constance De Jong 1Suresh Dutt 63Sergio Fermariello 38Konstantin Grcic 37Katy Hackney 14Charles Hadcock 28, 36Maureen Anne Holley 34James Horrobin & SOM 15, 24Philip Jackson & SOM 22

Do König Vassilakis 4, 44, 48Gerald Laing 16Danny Lane 62Giusseppe Lund 3Michael Lyons 40, 43Antoni Malinowski 56Bruce McLean 18Keith Milow 41Igor Mitoraj 9, 35, 60Jennie Moncur 49Eilis O’Connell 59, 64Tatiana Orloff 11Lawson Oyekan 42Giles Penny 13, 21Wendy Ramshaw 10Keith Rand 31Martin Richman 26Nigel Ross 61Sophie Smallhorn 51, 54Leo Stevenson 12Sinta Tantra and LDI 27William Turnbull 39Wales & Wales 19Terence Woodgate 57Rachael Woodman 45Robert Worley 8Catherine Yass 29

Canary Wharf GroupCanary Wharf is under the management and control ofone company, Canary Wharf Group plc, which has beenresponsible for the master planning and development ofthe estate, the construction of its buildings and publicspaces, and their management and maintenance.

At the core of our business lies a commitment to buildthe highest quality environment for the people who workin and visit this area. We have a strong belief in the rolethat artists, designers and craftsmen can play in creatinga more humane and pleasurable built environment. Thiscommitment is demonstrated by the large number of artprojects that have been commissioned, purchased,loaned or facilitated by Canary Wharf Group since the1990s, which are listed below.

Canary Wharf’s Art Programme was recognised by‘Christie’s Award for the Best Corporate Collection andProgramme’ in the International Art & Work Awards 2010. This followed its 2002 Art & Work Award for an‘Outstanding Contribution to Art in the WorkingEnvironment’.

A fully illustrated book, Sculpture at Canary Wharf: A Permanent Collection was published in 2014 and isavailable from the Public Art Office, price £25. This iscomplemented by the earlier book, Sculpture at CanaryWharf: A Decade of Exhibitions, published in 2011.

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Art works

Jubilee Lineto Canary Wharf

DLR to Canary Wharfor Heron Quays

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For London Transport information visit www.tfl.gov.uk

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FOR FURTHER INFORMATION CONTACTPublic Art, Canary Wharf GroupOne Canada Square, Canary Wharf, London E14 5ABTelephone 020 7418 2000visualart@canarywharf.com

Copyright © Canary Wharf Group 2015

Photographs by Aurelio Amendola, Alexander Beleschenko, Theresa Bergne, Andrew Cross, Rod Dorling, Suresh Dutt, David Hoffman, Melissa Kojan, Joe Low,Michael Lyons, Iain McLean, Peter Matthews & Folio Photography, Heini Schneebeli,Andy Spain, Philip Vile, Richard Waite, Keith Watson, Sally Williams

Designed by Tim Harvey, LondonMap by Rasik VarsaniPrinted by Jamm Print & Production

CWG 18pp Art Map 4th edition_Layout 1 26/03/2015 13:32 Page 2

CM GILES PENNY | Two Men on a Bench | 1995 | bronzeEXTERIOR Cubitt StepsGiles Penny’s Two Men on a Bench is a large bronzework in the classical figurative tradition, which has acontemplative air as well as an element of fun.Simplified surfaces and contours imbue it with amonumental presence and narrative sculpturallanguage. Penny came to the attention of the CanaryWharf when this and another of his bronzes, Manwith Arms Open, were shown as part of theMillennium exhibition The Shape of the Century in1999. Both works were subsequently purchased.

CN PHILIP JACKSON & SOM | Bronze Bowls | 1992 | bronzeEXTERIOR Cabot SquarePhilip Jackson CVO is best known for his figurativebronze sculptures, such as the equestrian statue ofthe Queen commissioned for her Golden Jubilee, thememorial statue of The Queen Mother in The Mallunveiled in 2009, and his group of seven figures forthe Bomber Command Memorial in Green Park in2012. At Canary Wharf he worked with architectsSkidmore, Owings & Merrill (SOM) to design theunique planters for the entrance steps into CabotSquare, and also found at Wren Landing.

CO JON BUCK | Returning to Embrace | 1999 | bronzeEXTERIOR 10 Cabot Square forecourtJon Buck’s sculpture appears to show a couplelocked together, gazing into each other’s eyes.Closer examination reveals a strange fusion of forms,their bodies so far intertwined as to have become asingle organism. Central to Buck’s work is an interestin our connection to the natural world and hisfigures depict not only men and women but alsoMan and Nature. He has long been fascinated by artoutside the Western tradition, particularly Africansculpture.

CP JAMES HORROBIN & SOM | Promenade Railings | 1992 | steelEXTERIOR Mackenzie Walk and dockside perimeterA master craftsman in architectural and domesticforged ironwork, James Horrobin worked witharchitects Skidmore, Owings & Merrill (SOM) todesign two sets of railings for Canary Wharf. ThePromenade Railings along the entire perimeter ofthe docks were designed with a gentle sweepingbow, echoing sails on a sailing boat. Horrobin hascreated a wide diversity of works, encompassingarchitectural, ecclesiastic, domestic and sculpturalpieces.

CQ EMMA BIGGS | Pattern for Democracy | 2008 | mosaicINTERIOR Cabot Place West retail mall, ground levelEmma Biggs’ floor mosaic for the refurbished retailspace in Cabot Place West, Pattern for Democracy,is a contemporary take on a traditional geometricalfloor. Instead of striving for machine-like precision,elements of the design vary in colour, form and evendirection, the differences combining to create aharmonious whole, much like the way we asindividuals can harness our variety to create abenign society. A second, smaller roundel is locatedat the entrance from Cabot Square.

BR GERALD LAING | Relief Portrait of Michael von Clemm | 1998 | bronzeEXTERIOR Cabot SquareA bronze relief portrait by Gerald Laing set on aPortland stone plinth commemorates Michael vonClemm (1935–1997), ‘investment banker and pioneerof the Euromarkets whose vision helped to createthis financial centre’. Laing first came to fame as oneof the significant British Pop artists in the 1960s,known for paintings that commented on thecontemporary scene. He later focused on sculpture,first abstract then figurative subjects, and undertooka number of high profile commissions.

BS JEFF BELL | Cast Glass Panels | 1992 | cast lead crystalEXTERIOR Cabot SquareJeff Bell’s Cast Glass Panels form the cladding forthe four ventilation shafts in Cabot Square thatservice the car park below, turning the functionalinto a spectacle of light and colour. Born in Yorkshire,Bell established his studio in London in 1986 and hasbuilt up a reputation for making unique cast glasssculpture, furniture and architectural pieces. Heenjoys pushing the boundaries of the application ofhis chosen material and has cast the most unlikelystructures, including a bath tub and a spiral staircase.

BT BRUCE McLEAN | Sculptural Railings | 1992 | steelEXTERIOR Fisherman’s Walk, Wren LandingBruce McLean’s intervention at Canary Wharf is thesculptural railing alongside Fisherman’s Walk. The40-metre long charcoal steel rail is heavily workedwith shapes, faces, circles and squares, true to hisstyle. McLean challenges the traditional structure ofthe railing, subverting the straight line with wit andvigour. McLean has worked on numerousarchitectural schemes in collaboration with architectWill Alsop, including the Queen Mary College School of Medicine & Dentistry in Whitechapel.

BU WALES & WALES | Benches | 1992 | beechEXTERIOR Wren Landing and throughout estateHusband and wife design team Wales & Wales havecreated many of the wooden benches that are foundin Canary Wharf’s exterior and interior spaces. Theirwork is influenced by architecture, characterisedhere by the subtle sensitivity with which the benchesrelate to their surroundings. Wales & Wales originallytrained as cabinet makers, but they soon becamemore interested in the design process and the scaleof their production increased. Their furniture can beseen world-wide.

CL LYNN CHADWICK | Couple on Seat | 1984 | bronzeEXTERIOR Cabot SquareCourtesy of the Lypiatt Studios and Pangolin Editions.

Lynn Chadwick (1914–2003) began his career as anarchitectural draughtsman but after World War II hetook up sculpture. Couple on Seat is one of his laterworks. He produced many pieces with figures invarious positions, following in the tradition ofsculptor Henry Moore. Chadwick created a permanentexhibition of his work at his home at Lypiatt Park inGloucestershire. An exhibition of his work was heldin One Canada Square and Jubilee Park in 2004.

BM TATIANA ORLOFF | Planters | 2001–02 | bronzeEXTERIOR Columbus CourtyardTatiana Orloff is perhaps best known for her portraitsculpture and during her career she has worked in avariety of materials and techniques, which includewelding in mild steel. The mastering of each newdiscipline has had an influence on her work as awhole. These 12 planters reflect her skill in ceramicstransposed here into sculpture in bronze. They areunique, designed specifically for Canary Wharf, andwere originally located either side of a short flight ofsteps in Canada Square Park.

BN LEO STEVENSON | The Hibbert Gate | 2000 | bronze, stoneEXTERIOR Adjacent to North Dock, westThis replica of the main gate was commissioned tocommemorate the original entrance to the WestIndia Docks, built in 1803. The ship on top of thearch is a West Indiaman named Hibbert, which wentto sea between 1785 and 1813 and travelledextensively to the West Indies, bringing back sugar,rum, cotton, coffee and tropical hardwoods. Alldrawings of the ship are now lost but this model byLeo Stevenson was made based on extensive researchinto records of West Indiamen of the period.

BO GILES PENNY | Man with Arms Open | 1995 | bronzeEXTERIOR West India AvenueGiles Penny’s Man with Arms Open is a roughly hewnbronze figure with his head thrown back and armsoutstretched. Penny came to the attention of theCanary Wharf Group when this work, together withanother of his bronzes, Two Men on a Bench, wasshown as part of the Millennium exhibition, TheShape of the Century in 1999, shown in Salisbury and at Canary Wharf. Both sculptures were thenpurchased and form part of the permanent collectionof works of art on the estate.

BP KATY HACKNEY | Willoughby Passage Gate | 1999 | stainless steelEXTERIOR Willoughby Passage, West India AvenueThe design brief for these gates required them to bean ‘open invitation to enter’ rather than a barrier tokeep people out. Scottish-born jeweller KatyHackney took inspiration from the mysteries of thesea and the sky to create an image that looks likethe planets have collided, as well as makingreference to the water that flows around the estate.Other public commissions include commemorativeplaques and medals for the London bombings in 2005.

BQ JAMES HORROBIN & SOM | Cabot Square Railings | 1992 | steelEXTERIOR Cabot SquareA master craftsman in architectural and domesticforged ironwork, James Horrobin worked witharchitects Skidmore, Owings & Merrill (SOM) todesign two sets of railings for Canary Wharf. Theperimeter Cabot Square Railings are reminiscent ofthe cogs on a steam engine, and make a subtleaddition to the ambiance of this popular square.Horrobin has created a wide diversity ofarchitectural, ecclesiastic, domestic and sculpturalworks from his Doverhay Forge Studios in Somerset.

^ HUGH CHAPMAN | Growth Form 2012 | 2012 | bronzeEXTERIOR Westferry Circus Gardens ON LOAN

Hugh Chapman’s Growth Form 2012 was cast at thenearby Bronze Age foundry in Limehouse. Sufferinga head injury as a teenager, Chapman turned hisback on academia to concentrate first on ceramicsbefore turning to photography. He later returned toceramics and sculptural form but soon beganexperimenting in other media, creating larger andbolder works. His work expresses what hisexperiences have taught him: the importance of lifeand light, contrast and reflection.

& ANDREW BURTON | Chimney | 2008 | recycled fired bricks, steelEXTERIOR Westferry Circus Over recent years Andrew Burton has created anumber of works using miniature clay bricks,collaborating with artisans and artists in India, Koreaand the Netherlands, investigating brick-making as avehicle for sculpture. He first visited India in 1983.Close in form to chimneys of brick kilns the worldover, Chimney is also a tribute to India’s tallest brickminaret of the Qutub Minar near Delhi. This workwas first shown at Canary Wharf as part of hisexhibition in Jubilee Park in Spring 2008.

* ROBERT WORLEY | Avatar | 2009 | aluminiumEXTERIOR Westferry Circus Robert Worley ARBS was the winner of theFirst@108 Public Art Award in 2009, a new annualaward by the Royal British Society of Sculptors toprovide an opportunity for artists new to public artto create a large-scale sculpture commission. TheAward was sponsored by Canary Wharf Group, whosubsequently purchased Worley’s sculpture Avatarfor its permanent collection. Avatar portrays a hawk-like beast with a human form embedded in its back.

( IGOR MITORAJ | Centurione I | 1987 | bronzeEXTERIOR Columbus Courtyard Igor Mitoraj (1944–2014) was born in East Germanyof Polish/French parents and studied classicalpainting in Krakow before moving to Paris in 1968,and later travelled in South America. His enigmaticand monumental sculptures combine the surrealwith the antiquity of Greece and Rome. At CanaryWharf there are three of his works, representingsome of the themes that occupied him. Centurione Irepresents the head as an incomplete mask,suggesting the surviving part of an enormous whole.

BL WENDY RAMSHAW | Columbus Screen | 2000 | steel, PerspexEXTERIOR Columbus Courtyard When Canary Wharf commissioned jewellerydesigner Wendy Ramshaw, the Columbus theme ledher to a design based on the navigational chartsused by the great explorer, an apposite choice giventhe proximity of Greenwich and its associations withmaritime history. Ramshaw is best known for herjewellery, intricate brooches and rings, which can beseen at the V&A Museum and other collections, butshe has also tackled large-scale architectural works,such as the Edinburgh Gate at Hyde Park, 2010.

! CONSTANCE DE JONG | Speaking of the River | 2000 | audio benchesEXTERIOR Canary RiversideSpeaking of the River was sponsored by CanaryWharf Group but was part of a wider projectcommissioned by Public Art Development Trust,which linked the river Thames in London with theriver Hudson in New York. De Jong created a gentle,evocative sound-scape using recorded interviewsand stories that relate the human experience of boththese locations, told by people for whom the river isa daily presence. Two audio benches are located100m apart on the riverside promenade.

@ RON ARAD | Windwand | 2000 | carbon fibreEXTERIOR Canary RiversideWindwand is as tall as some of the buildings thatsurround it, a 50-metre high needle made of redcarbon fibre. It was designed to flex gently in thewind, subverting one’s expectations of what tallobjects in this area should do. Ron Arad came toLondon from Israel in 1973 to study at theArchitectural Association and is now regarded asone of Britain’s most inventive designers, whosework crosses boundaries between art, design andarchitecture.

# GIUSSEPPE LUND | Gate | Sculptural Railings | 1992 | steel, bronzeEXTERIOR Westferry Circus GardensInspired by the cycle of the seasons, Lund’s Gateforms the entrance to the gardens at WestferryCircus, a remarkable work that incorporates delicateflowers flowing from a single stem set against achunky grid, complemented by his SculpturalRailings that surround the gardens. Lund has had along career working with metal, and has beeninfluential in encouraging the creative use of metal inthe UK, organising exhibitions and advising bodiesincluding the Crafts Council.

$ DO KÖNIG VASSILAKIS | Sasso Cosmico | 2007 | bronze, steelEXTERIOR Westferry Circus GardensSasso Cosmico, which translated from the Italianmeans ‘Cosmic Stone’, has been installed in thepeaceful garden at Westferry Circus. The reflectivesurface captures the surrounding planting, foliage,architecture, sky and clouds. In this way it provides a constantly changing manifestation of the seasonsand the weather systems. König Vassilakis’ work isstrongly influenced by the mythology and culture of ancient Greece and Rome. Two more of hersculptures are found in 40 Bank Street.

% JAY BATTLE | Vanishing Point | 1999 | Derbyshire stone, steelEXTERIOR Westferry CircusVanishing Point looks a little like the shell of amythical sea creature that has perhaps been washedup from the Thames. The stone has been polished toreveal the natural, lined core. Having trained as astone mason in Canada, Battle came to England tostudy stone carving and in 1997 became HeadCarver at Salisbury Cathedral, contributing to itsconstant restoration works as well as running hisown studio where he creates contemporary, self-expressive work.

Artists and map number key of works

Bob Allen 46Ron Arad 2, 55Jay Battle 5Alexander Beleschenko 52, 53Jeff Bell 17Emma Biggs 25, 30, 50Kate Blee 32Michael Brennand-Wood 58Jon Buck 23Andrew Burton 7Daniel Chadwick 33Lynn Chadwick 20Hugh Chapman 6Alison Crowther 47Bill Culbert 65Constance De Jong 1Suresh Dutt 63Sergio Fermariello 38Konstantin Grcic 37Katy Hackney 14Charles Hadcock 28, 36Maureen Anne Holley 34James Horrobin & SOM 15, 24Philip Jackson & SOM 22

Do König Vassilakis 4, 44, 48Gerald Laing 16Danny Lane 62Giusseppe Lund 3Michael Lyons 40, 43Antoni Malinowski 56Bruce McLean 18Keith Milow 41Igor Mitoraj 9, 35, 60Jennie Moncur 49Eilis O’Connell 59, 64Tatiana Orloff 11Lawson Oyekan 42Giles Penny 13, 21Wendy Ramshaw 10Keith Rand 31Martin Richman 26Nigel Ross 61Sophie Smallhorn 51, 54Leo Stevenson 12Sinta Tantra and LDI 27William Turnbull 39Wales & Wales 19Terence Woodgate 57Rachael Woodman 45Robert Worley 8Catherine Yass 29

Canary Wharf GroupCanary Wharf is under the management and control ofone company, Canary Wharf Group plc, which has beenresponsible for the master planning and development ofthe estate, the construction of its buildings and publicspaces, and their management and maintenance.

At the core of our business lies a commitment to buildthe highest quality environment for the people who workin and visit this area. We have a strong belief in the rolethat artists, designers and craftsmen can play in creatinga more humane and pleasurable built environment. Thiscommitment is demonstrated by the large number of artprojects that have been commissioned, purchased,loaned or facilitated by Canary Wharf Group since the1990s, which are listed below.

Canary Wharf’s Art Programme was recognised by‘Christie’s Award for the Best Corporate Collection andProgramme’ in the International Art & Work Awards 2010. This followed its 2002 Art & Work Award for an‘Outstanding Contribution to Art in the WorkingEnvironment’.

A fully illustrated book, Sculpture at Canary Wharf: A Permanent Collection was published in 2014 and isavailable from the Public Art Office, price £25. This iscomplemented by the earlier book, Sculpture at CanaryWharf: A Decade of Exhibitions, published in 2011.

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Art works

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FOR FURTHER INFORMATION CONTACTPublic Art, Canary Wharf GroupOne Canada Square, Canary Wharf, London E14 5ABTelephone 020 7418 2000visualart@canarywharf.com

Copyright © Canary Wharf Group 2015

Photographs by Aurelio Amendola, Alexander Beleschenko, Theresa Bergne, Andrew Cross, Rod Dorling, Suresh Dutt, David Hoffman, Melissa Kojan, Joe Low,Michael Lyons, Iain McLean, Peter Matthews & Folio Photography, Heini Schneebeli,Andy Spain, Philip Vile, Richard Waite, Keith Watson, Sally Williams

Designed by Tim Harvey, LondonMap by Rasik VarsaniPrinted by Jamm Print & Production

CWG 18pp Art Map 4th edition_Layout 1 26/03/2015 13:32 Page 2

CR MARTIN RICHMAN | Float | 2002 | light, glass, steelEXTERIOR The North ColonnadeMartin Richman’s Float was designed to transforman otherwise unremarkable space into an upliftingvisual experience after dusk. His working life beganas a lighting designer in the music industry, but from1985 he started his artistic career exploring themedium of light. He has had numerous exhibitions aswell as permanent public commissions andtemporary projects. In 2010 he completed a schemewith Eric Parry Architects, illuminating the faiencefaçade of a building in Bond Street, London.

CS SINTA TANTRA | A Beautiful Sunset Mistaken for a Dawn | 2012 | paint, with underbridge lighting scheme by LightingDesign International (LDI)EXTERIOR DLR Bridge over Middle Dock Sinta Tantra’s inspiration for her painting schemewas drawn from the natural elements, ever-changinglight and towering buildings of Canary Wharf. Sunsetand sunrise influenced her palette: blues and greysworking well during the day; purples and pinks atnight. LDI’s lighting scheme brings the bridge to lifeat dusk. LED projectors wash soft light from eachend, the colours changing from early to late evening.

CT CHARLES HADCOCK | Helisphere | 2009 | cast ironEXTERIOR Heron Quays DLR StationIn Helisphere Charles Hadcock has combined thecharacteristics of the sphere with that of the helix –a curve in 3-dimensional space. The sphere is madein horizontal sections, which spin out of alignmentwith its skin, causing a curved and steppeddistortion that is the helix curve. Walking around thesculpture provides the viewer with a multiplicity ofgently changing shapes. Helisphere and Torsion II,also in the permanent collection, were shown here inhis exhibition in Jubilee Park in 2011.

CU CATHERINE YASS | Descent: HQ3 | 2002 | photographic lightboxINTERIOR Heron Walk link to Jubilee Place, lower levelDescent: HQ3 is one of three large-scalephotographic images of buildings on the estateunder construction commissioned by Canary WharfGroup. Between November 2001 and January 2002Yass requested permission to take photographs andfilm from one of the Canary Wharf towers underconstruction, for a body of work exhibited for herTurner Prize nomination in 2002. Yass is noted forher films and intensely-coloured photographs thatoften combine the positive and the negative.

DL EMMA BIGGS | Sartor Resartus | 2003 | stone and glass mosaicINTERIOR Heron Walk to Jubilee Place, lower levelEmma Biggs’ Mosaic Workshop is one of Britain’sleading studio workshops, creating walls, floors andsmall-scale artworks using the ancient method ofmosaic. Sartor Resartus depicts a playful collage of the different forms of dress of the office workersof Canary Wharf. Between the two wall panels, afloor roundel shows an amusing collage of footwear,from office brogues to dance slippers. Additionalmosaics by Biggs are found in Cabot Place West and Jubilee retail malls.

DM KEITH RAND | Original Form | 1999 | Douglas firEXTERIOR North Dockside, rear of 25 North ColonnadeOriginal Form was made specifically for Canary Wharfas a part of the Millennium exhibition The Shape ofthe Century, and subsequently purchased for thecollection. Keith Rand (1956–2013) studied sculptureat Winchester School of Art. He moved to Scotlandin 1984, returning to the south-west of England in1996. He established his reputation for innovativesculpture and sensitively informed landscape worksinspired by the natural world, realising his ideasthrough a poetic vision and technical rigour.

DN KATE BLEE | Moving On | 1999 | enamel on glassINTERIOR 25 North Colonnade atrium, ground levelKate Blee is well known for her vibrant textiledesigns, but for this commission at Canary Wharfshe turned her hand to glass for the first time.Moving On explores the process of light and tonewith almost painterly effect. This glass screen ismade up of a series of six panels, each painted witha different shade of strong blue enamel, from‘swimming pool’ blue to cerulean. Blee has undertakenmany public and private commissions and her workcan be found in many public collections.

DO DANIEL CHADWICK | Galaxy III | 2006 | steel, fibreglassINTERIOR West Wintergarden, ground levelThe parabolic fibreglass forms of Galaxy III aresuspended from the glass roof of West Wintergardenin graceful equilibrium, moving almost imperceptiblyin the natural air currents. Created in DanielChadwick’s Stroud workshop, the sculptures aretypical of the commissions for which he has becomeknown: otherworldly organic forms that contrast and complement the open and airy spaces ofcontemporary architecture. He exhibited acomparable mobile in Gloucester Cathedral in 2010.

DP MAUREEN ANNE HOLLEY | The Spirit of East London | 2007 |photographic lightboxINTERIOR West Wintergarden, ground levelMaureen Anne Holley has always been fascinated byLondon: its architecture, urban landscape and people.The Spirit of East London was purchased by CanaryWharf Group from her 2007 degree exhibition at theUniversity of East London, a photographic montageset within a composite lightbox that captures thespirit and atmosphere of docklands, the vibrancy ofregeneration as well as her East End childhood,where her father worked in the Royal Docks.

DQ IGOR MITORAJ | Testa Addormentata | 1983 | bronzeEXTERIOR Bank Street, outside West WintergardenThree sculptures by Polish artist Igor Mitoraj (1944–2014) are found at Canary Wharf, representing someof the themes that occupied him: here the bandagedface of Testa Addormentata (‘Head Asleep’). Hisenigmatic works combine the surreal with theantiquity of Greece and Rome. His earlier sculpturewas predominantly in terracotta or bronze, but heturned to marble following a trip to Carrara, Italy in 1979. In 2012 he was awarded the KnightCommander’s Cross, one of Poland’s highest honours.

DR CHARLES HADCOCK | Torsion II | 2009–11 | cast ironEXTERIOR Bank Street, outside Jubilee ParkCharles Hadcock’s Torsion II has been described asbeing like a stairway to the stars. It is an example ofthe artist’s practice of revisiting his sculptures overtime, transforming them in the process, part of hisstrategy to kick-start new ideas and new sources ofinspiration. Here Hadcock added further sections toan existing work Torsion I, already a tall spirallingform, as he was preparing for his exhibition inCanary Wharf’s Jubilee Park in Spring 2011. Torsion IIand Helisphere were purchased for the collection.

DS KONSTANTIN GRCIC | Six Public Clocks | 1999 | steel, glassEXTERIOR Reuters Plaza Six Public Clocks by Konstantin Grcic was thewinning design in a competition inviting proposalsfor this public space. His playful installation is basedon the iconic Swiss railway clock but here each ofthe 12 faces shows a single and different numeral.German designer Grcic is best known for hisfurniture and product design. Based in Munich butworking internationally, Grcic has won numerousprestigious awards, such as Honorary Royal Designerfor Industry awarded by the RSA in 2009.

DT SERGIO FERMARIELLO | Guerrieri (Warriors) | 2013 | aluminium laser cut-out, painted INTERIOR One Canada Square lobby, ground levelInitially studying sciences at the University ofNaples, Sergio Fermariello soon turned his attentionto art, focussing on ideas around collectiveunconscious memory. In 1993 he represented Italy atthe Venice Biennale with a body of work developinghis exploration of ‘The Warrior’, taking archetypalsymbols and shapes from antiquity and mythology.In 1995 he began making works that were partpainting part sculpture, as shown in the works here.

DU WILLIAM TURNBULL | Blade of Venus | 1985 | bronzeINTERIOR One Canada Square lobby, ground levelBlade of Venus by William Turnbull (1922–2012) ispart of a series of bronzes that originated in theshape of Japanese swords and Chinese choppingknives. The metamorphosis of these hiddenreferences adds an element of ambiguity and thesurreal, giving the image a wide frame of referenceand a compelling figurative identity. WilliamTurnbull’s bronzes are distinguished by a richcontrast in surface, patina and detail, which create a kind of skin.

EL MICHAEL LYONS | Unity of Opposites: Vortex | 2001 | copper, patinated and waxedEXTERIOR Adams PlaceUnity of Opposites: Vortex is one of a number ofworks inspired by Michael Lyons’ visits to China, forwhose culture he developed a deep affinity. Echoingthe writings of Chinese philosophers, this sculpturehas been described as embodying the tensionswithin modern society between materialisticcravings and spiritual needs. This work and anothersculpture, Shepherd of the Sun, were purchasedfollowing Lyons’ exhibition at Canary Wharf in 2014.

EM KEITH MILOW | Twentieth Century Thames | 1998 | oxidised ironINTERIOR One Canada Square lobby, ground levelTwentieth Century Thames, Keith Milow’s series ofworks for Canary Wharf’s signature building, aremillennial in their conception. If you look closely atthe apparently rusty discs, hundreds of embossednames are revealed. Some are immediatelyrecognisable, others more obscure, but all are artists,composers, writers and architects who made theirmark in the twentieth century. A prolific sculptor,painter and installation artist, Milow has exhibitedextensively since the 1960s.

EN LAWSON OYEKAN | Trail with Light (LIP) Series | 1998 | terracottaINTERIOR One Canada Square lobby, ground levelFour works from Lawson Oyekan’s series Trail withLight are on permanent display in One CanadaSquare, rough-hewn terracotta vessels that havebeen described by Oyekan as reflecting emotionalexperiences in their surface treatment. They look asif they have been exploded and put back togetheragain. Oyekan was born in South London and raisedin Nigeria. In 2001 he won the Grand Prix Award inthe 1st World Ceramic Biennale, held in Korea. Hehad a solo exhibition at Canary Wharf in 2011.

EO MICHAEL LYONS | Shepherd of the Sun | 1994 | steel, paintedINTERIOR Park Pavilion, upper levelWhile creating Shepherd of the Sun Michael Lyonsbegan to think of the good shepherd of Christianity,but the discs also seemed to have a planetary orsolar reference, bringing a more primitive or paganassociation. Both notions are reflected in the title:Orion, the mythological hunter, is often referred toas The Shepherd and the constellation is associatedwith the sun-god. This work and Unity of Opposites:Vortex were purchased following Lyons’ exhibition atCanary Wharf in 2014.

EP DO KÖNIG VASSILAKIS | Tree | 2003 | bronzeINTERIOR 40 Bank Street lobby, ground levelDo König Vassilakis’ work is strongly influenced bythe mythology and the culture of Ancient Greeceand Rome. Her long-standing partnership with theGreek artist Takis, who she met in 1968 at the VeniceBiennale, led to extensive travel, returning to Greecein 1974. Their close friendship with leading artistsactive during the 1960s and 1970s, including SalvatorDali, Max Ernst and Arman, served to infuse her workwith a surrealist edge, beautifully expressed in thisbronze tree.

EQ RACHAEL WOODMAN | Vertical 40 | 2004 | glassINTERIOR 40 Bank Street lobby, ground level Rachael Woodman’s tall elegant, glass pieces werecreated especially for 40 Bank Street and theymirror the far-reaching skyscrapers that surroundthe building. Her work shows a concern for simplicityof line and purity of form, whilst the subtle colourscelebrate the inner beauty of glass. Woodman hasworked in the medium for many years, and herglasswork is found in a number of public collections,including the V&A Museum and the ContemporaryArts Society.

ER BOB ALLEN | It Takes Two | 2002 | bronzeEXTERIOR Canada Square ParkFollowing a serious operation, Bob Allen wasadvised to take up carving to strengthen his left arm.Discovering he had talent, Allen began creatingsculpture, taking his inspiration from nature, oftencarving wood using traditional tools and working inthe open air. It Takes Two is a bronze cast of acarving from the fallen bough of an ancient EnglishYew listed in the Domesday Book. Allen’s aim is toreveal the hidden quality in the wood. Here it wasthe female form that emerged first, later a male form.

ES ALISON CROWTHER | Kidney I | Kidney II | 2008 | green oakINTERIOR 40 Bank Street lobby, ground levelAlison Crowther is both a sculptor and a furnituremaker. Her preferred medium is green oak, whichshe always tries to source from sustainablewoodland. Kidney I is carved in direct relation to themedullary rays of the wood, the carving followingthem from ‘top’ to ‘bottom’ of the form. Kidney IIrelates to the annual rings on the wood, the ripplingsurface and carving marks following their concentric‘rings’ around the form. Gentle forms, they appear assoft and malleable as kidney would be.

ET DO KÖNIG VASSILAKIS | Angelo I | 2000 | bronze, steel, glass, gilded ceramicINTERIOR 40 Bank Street lobby, ground level Angelo I was the second work by Do König Vassilakisto be purchased for Canary Wharf’s permanentcollection. Like Tree, this sculpture graces the lobbyof 40 Bank Street and reflects the artist’s keeninterest in Greek mythology and culture, as well as inSurrealism. Both pieces were cast in Italy where theartist has lived since 1989, using the foundries ofPietrasanta and Impruneta. A third sculpture by theartist is located in Westferry Circus Gardens.

EU JENNIE MONCUR | Redberries | Blueberries | 1990 | paint on linenINTERIOR 40 Bank Street lobby, ground levelJennie Moncur works mainly in textiles to createsumptuous and robust woven designs. Asunexecuted designs for tapestries, her Redberriesand Blueberries paintings echo the same bold shapesand bright colours as the weavings, abstracting andjuxtaposing traditional and decorative references.Moncur has carried out a number of large-scalecommissions in different media, including thelinoleum floor at the Institute of Contemporary Arts,London in 1987, reinstated in 2008.

FL EMMA BIGGS | Wharf Walk | 2003 and 2013 | stone and glass mosaicINTERIOR Jubilee Place retail mall, lower levelEmma Biggs’ Wharf Walk takes us through theJubilee Place shopping mall, following a trail of floormosaics depicting some of the trades passingthrough the dockyards that flourished here in earliertimes. Each image is framed by a piece of evocativetext, derived from Biggs’ careful research for thecommission in 2003. In 2013, when the mall wasextended to a lower floor, Biggs was invited tocreate four new mosaics on the same theme. WharfWalk now comprises 17 floor mosaics in all.

FM SOPHIE SMALLHORN | Colour West | 2004 | vinylINTERIOR Jubilee Line Station, north-west escalatorsto retail mall, lower levelGeometry and flat saturated colour are the focalpoints of Sophie Smallhorn’s practice. Her palette ofcoloured vinyls is deceptively simple: proportion andcomposition are manipulated to create playful andpleasing juxtapositions. Smallhorn trained infurniture design, and moved into sculpture aftergraduating. She has since undertaken a range ofinternational exhibitions and commissions, includingan installation in One Canada Square in 2004.

FN ALEXANDER BELESCHENKO | Art Glass Wall | 2002 | antique mouth-blown glassINTERIOR Citigroup, ground levelNot publicly accessible without permission from Citi.

Alexander Beleschenko specialises in architecturalglass, using a variety of techniques to producebeautiful and dramatic effects. His two glass wallsfor Canary Wharf demonstrate different aspects ofhis work. Both are illuminated through computercontrolled lighting, creating slowly changing effects.Here ‘walls of light’ create a corridor made of antiquemouth-blown glass infilled with white resin.

FO ALEXANDER BELESCHENKO | Art Glass Wall | 2002 | glass, lightingINTERIOR Citigroup entrance, Canada Place retail mall,lower levelNot publicly accessible without permission from Citi.

Alexander Beleschenko’s second glass wall forCanary Wharf is visible from the public walkway.Here he employed a new technique using pouredresin infill combined with enamel glass to createswirling shapes. Beleschenko has undertakennumerous public commissions, including works forthe Welsh Assembly Building in Cardiff, the MetOffice in Exeter and Millennium Place in Coventry.

FP SOPHIE SMALLHORN | Colour East | 2004 | vinylINTERIOR Jubilee Line Station, north-east escalatorsto retail mall, lower levelGeometry and flat saturated colour are the focalpoints of Sophie Smallhorn’s practice. Her palette ofcoloured vinyls is deceptively simple: proportion andcomposition are manipulated to create playful andpleasing juxtapositions. Smallhorn trained in furnituredesign, and moved into sculpture after graduating.She collaborated with Populous Architects to designa spectrum of colours for the exterior ‘Wrap’ andinternal features of the 2012 Olympic Stadium.

FQ RON ARAD | The Big Blue | 2000 | glass fibreEXTERIOR Canada Square ParkThe Big Blue functions as a remarkable visual eventwithin Canada Square Park, visible both from groundlevel and from the towering buildings that surroundthe park, as well as acting as illumination for theshopping mall below. A huge, asymmetric glass fibreobject, it rests on a ring of structural glazing thatmakes it appear to float above the ground. Ron Aradis one of Britain’s most inventive designers, whosework crosses boundaries between art, design andarchitecture.

FR ANTONI MALINOWSKI | Untitled | 2000 | acrylic on canvasINTERIOR Canada Place retail mall, lower levelAntoni Malinowski’s painting in brilliant blue isexecuted in his trademark pure pigment, resulting ina vivid and vibrant matt finish. It evokes dreams ofriver currents, shoals of fish, and the gentle play of light on water. The original floor of the adjacentmall, since replaced, was designed by Malinowski. He has undertaken a number of public commissionsworking with architects Haworth Tomkins, whichinclude the Royal Court Theatre, London where hecreated a wall drawing of 86 square metres.

FS TERENCE WOODGATE | Seating | 2000 | bead-blasted aluminiumINTERIOR Canada Place retail mall, lower levelTerence Woodgate designed the public seating inthe Canada Place retail mall to complement theoriginal floor design by Antoni Malinowski, sincereplaced, which evoked a sense of water. In response,Woodgate decided to create aluminium seating withinvisible fixings that appear to float like rafts acrossthe floor and reflect the light from above. Woodgateestablished his design studio in 1988 specialising infurniture and lighting, and has designed publicseating for many varied environments.

FT MICHAEL BRENNAND-WOOD | Flight Paths | 2005 | mosaic, wood, metalINTERIOR East Wintergarden, ground levelPrimarily known as a textile artist, Michael Brennand-Wood created Flight Paths in response to thecolours, textures and architecture of the EastWintergarden. Four constructed relief panels hang in pairs either side of this airy glass-roofed space,each panel comprised of layers of tracks made up oftiny mosaic tiles in red, white, black and grey. Likedrawings suspended in air, the works arediagrammatical interpretations of the wing tipvortexes alluded to in the title, Flight Paths.

FU EILIS O’CONNELL | Under and Over II | Under and Over IV | 2000 | bronzeINTERIOR 50 Bank Street lobby, ground levelOriginally produced in birchwood, resin and plasterthese sculptures were realised in bronze for CanaryWharf, following her exhibition here in 2002. Eachcreates a sense of enclosure or the impression of agarment recently vacated. The forms reflect thepliable nature of the original wooden sheets thatO’Connell dampened and bent into shape, clampingthem into position to dry. Her attention to surfacedetail has been meticulously translated into thecarefully worked patina of the bronze.

GL IGOR MITORAJ | Centauro | 1984 | bronzeEXTERIOR Montgomery SquareIgor Mitoraj’s Centauro shows the great mythologicalbeast partially incomplete but ready for battle. Atruly European artist, Mitoraj (d.2014) was born inEast Germany of Polish/French parents and initiallystudied classical painting in Krakow before movingto Paris in 1968. He began experimenting withsculpture following a visit to South America andthen embarked on a series of study trips to Greece.Two other sculptures are located on the estate, inColumbus Courtyard and outside West Wintergarden.

GM NIGEL ROSS | Cross Way | 2003 | European larch | Arbor | 2013 | oakEXTERIOR Montgomery SquareCross Way and Arbor were each carved by handfrom single tree trunks. A self-taught sculptor, NigelRoss developed his skills after working as a treesurgeon in London and as a forest contractor on theIsle of Arran. By the mid-1990s he was working full-time as a sculptor and maker, usually using fallen treesand taking inspiration from the rhythms and energyof nature. Based in Dunkeld, Perthshire, some of hisworks have a functional element and his sculpturalbenches are found in rural and urban settings.

GN DANNY LANE | Parting of the Waves | 2003 | glass, steelINTERIOR 20 Canada Square lobby, ground levelDanny Lane is well known for his monumentalsculptures made of horizontally stacked glass. Hiswork ranges from the design and production ofglass furniture combined with wrought iron, to large-scale architectural commissions that incorporateboth engraving and stacking techniques. At CanaryWharf he explored for the first time the potential ofstacking in the vertical and created two undulatingglass walls, which transform this space into anexperience likened to the ‘parting of the seas’.

GO SURESH DUTT | Drawing Cube (Blue) | 2010 | mild steelEXTERIOR Montgomery SquareSuresh Dutt was the winner of the First@108 PublicArt Award in 2010, the second year of this award bythe Royal British Society of Sculptors to provide anopportunity for artists new to public art to create alarge-scale sculpture commission. The Award wassponsored by Canary Wharf Group in its first twoyears. Part of the Award was the opportunity todisplay the finished sculpture at Canary Wharf, andDrawing Cube (Blue) has now been added to CanaryWharf’s permanent collection.

GP EILIS O’CONNELL | Sacrificial Anode | 2007 | cast bronze, stainless steelEXTERIOR Montgomery SquareMade in varying materials from steel and bronze toplastics and found objects, Eilis O’Connell’ssculptures show her meticulous attention to surfacedetail and close observation of the world around her.A ‘sacrificial anode’ refers to an anode attached to a metal object, such as a boat or underground tank,in order to inhibit its corrosion. This sculpture waspurchased following O’Connell’s exhibition in JubileePark in Spring 2013. Two other sculptures by theartist are found in 50 Bank Street.

GQ BILL CULBERT | Coup de Foudre II | 2009 | neonINTERIOR Churchill Place retail mall, lower levelBill Culbert is one of the world’s leading light artistsand has been working in this medium for over fortyyears, with works in public collections worldwide. His neon light sculpture, Coup de Foudre II, consistsof lines of coloured light that move effortlesslyinside and outside the building creating the illusionof one continuous piece. It was fabricated by theBirmingham-based City Neon Sign Company Ltd,whose director Laszlo Gregor has collaborated withCulbert and other artists.

This map is designed to enable you to find and identify all the works of art on the estate purchased, commissionedor loaned by Canary Wharf Group.

These include stand-alone pieces and integrated artist-architecturalworks, allexecuted bysome of themost inspiredartists, designersand craftsmen of today.

The works are numbered sequentially as to their location on theestate from west to east, and the text indicates whetherthey are sited inside or outside.

Art MapPUBLIC ART AT CANARY WHARF

CWG 18pp Art Map 4th edition_Layout 1 26/03/2015 13:32 Page 11

This map is designed to enable you to find and identify all the works of art on the estate purchased, commissionedor loaned by Canary Wharf Group.

These include stand-alone pieces and integrated artist-architecturalworks, allexecuted bysome of themost inspiredartists, designersand craftsmen of today.

The works are numbered sequentially as to their location on theestate from west to east, and the text indicates whetherthey are sited inside or outside.

ArtMapPUBLIC ART AT CANARY WHARF

CWG 18pp Art Map 4th edition-revise 210x99mm v10_Layout 1 04/11/2015 15:08 Page 1

CR MARTIN RICHMAN | Float | 2002 | light, glass, steelEXTERIOR The North ColonnadeMartin Richman’s Float was designed to transforman otherwise unremarkable space into an upliftingvisual experience after dusk. His working life beganas a lighting designer in the music industry, but from1985 he started his artistic career exploring themedium of light. He has had numerous exhibitions aswell as permanent public commissions andtemporary projects. In 2010 he completed a schemewith Eric Parry Architects, illuminating the faiencefaçade of a building in Bond Street, London.

CS SINTA TANTRA | A Beautiful Sunset Mistaken for a Dawn | 2012 | paint, with underbridge lighting scheme by LightingDesign International (LDI)EXTERIOR DLR Bridge over Middle Dock Sinta Tantra’s inspiration for her painting schemewas drawn from the natural elements, ever-changinglight and towering buildings of Canary Wharf. Sunsetand sunrise influenced her palette: blues and greysworking well during the day; purples and pinks atnight. LDI’s lighting scheme brings the bridge to lifeat dusk. LED projectors wash soft light from eachend, the colours changing from early to late evening.

CT CHARLES HADCOCK | Helisphere | 2009 | cast ironEXTERIOR Heron Quays DLR StationIn Helisphere Charles Hadcock has combined thecharacteristics of the sphere with that of the helix –a curve in 3-dimensional space. The sphere is madein horizontal sections, which spin out of alignmentwith its skin, causing a curved and steppeddistortion that is the helix curve. Walking around thesculpture provides the viewer with a multiplicity ofgently changing shapes. Helisphere and Torsion II,also in the permanent collection, were shown here inhis exhibition in Jubilee Park in 2011.

CU CATHERINE YASS | Descent: HQ3 | 2002 | photographic lightboxINTERIOR Heron Walk link to Jubilee Place, lower levelDescent: HQ3 is one of three large-scalephotographic images of buildings on the estateunder construction commissioned by Canary WharfGroup. Between November 2001 and January 2002Yass requested permission to take photographs andfilm from one of the Canary Wharf towers underconstruction, for a body of work exhibited for herTurner Prize nomination in 2002. Yass is noted forher films and intensely-coloured photographs thatoften combine the positive and the negative.

DL EMMA BIGGS | Sartor Resartus | 2003 | stone and glass mosaicINTERIOR Heron Walk to Jubilee Place, lower levelEmma Biggs’ Mosaic Workshop is one of Britain’sleading studio workshops, creating walls, floors andsmall-scale artworks using the ancient method ofmosaic. Sartor Resartus depicts a playful collage of the different forms of dress of the office workersof Canary Wharf. Between the two wall panels, afloor roundel shows an amusing collage of footwear,from office brogues to dance slippers. Additionalmosaics by Biggs are found in Cabot Place West and Jubilee retail malls.

DM KEITH RAND | Original Form | 1999 | Douglas firEXTERIOR North Dockside, rear of 25 North ColonnadeOriginal Form was made specifically for Canary Wharfas a part of the Millennium exhibition The Shape ofthe Century, and subsequently purchased for thecollection. Keith Rand (1956–2013) studied sculptureat Winchester School of Art. He moved to Scotlandin 1984, returning to the south-west of England in1996. He established his reputation for innovativesculpture and sensitively informed landscape worksinspired by the natural world, realising his ideasthrough a poetic vision and technical rigour.

DN KATE BLEE | Moving On | 1999 | enamel on glassINTERIOR 25 North Colonnade atrium, ground levelKate Blee is well known for her vibrant textiledesigns, but for this commission at Canary Wharfshe turned her hand to glass for the first time.Moving On explores the process of light and tonewith almost painterly effect. This glass screen ismade up of a series of six panels, each painted witha different shade of strong blue enamel, from‘swimming pool’ blue to cerulean. Blee has undertakenmany public and private commissions and her workcan be found in many public collections.

DO DANIEL CHADWICK | Galaxy III | 2006 | steel, fibreglassINTERIOR West Wintergarden, ground levelThe parabolic fibreglass forms of Galaxy III aresuspended from the glass roof of West Wintergardenin graceful equilibrium, moving almost imperceptiblyin the natural air currents. Created in DanielChadwick’s Stroud workshop, the sculptures aretypical of the commissions for which he has becomeknown: otherworldly organic forms that contrast and complement the open and airy spaces ofcontemporary architecture. He exhibited acomparable mobile in Gloucester Cathedral in 2010.

DP MAUREEN ANNE HOLLEY | The Spirit of East London | 2007 |photographic lightboxINTERIOR West Wintergarden, ground levelMaureen Anne Holley has always been fascinated byLondon: its architecture, urban landscape and people.The Spirit of East London was purchased by CanaryWharf Group from her 2007 degree exhibition at theUniversity of East London, a photographic montageset within a composite lightbox that captures thespirit and atmosphere of docklands, the vibrancy ofregeneration as well as her East End childhood,where her father worked in the Royal Docks.

DQ IGOR MITORAJ | Testa Addormentata | 1983 | bronzeEXTERIOR Bank Street, outside West WintergardenThree sculptures by Polish artist Igor Mitoraj (1944–2014) are found at Canary Wharf, representing someof the themes that occupied him: here the bandagedface of Testa Addormentata (‘Head Asleep’). Hisenigmatic works combine the surreal with theantiquity of Greece and Rome. His earlier sculpturewas predominantly in terracotta or bronze, but heturned to marble following a trip to Carrara, Italy in 1979. In 2012 he was awarded the KnightCommander’s Cross, one of Poland’s highest honours.

DR CHARLES HADCOCK | Torsion II | 2009–11 | cast ironEXTERIOR Bank Street, outside Jubilee ParkCharles Hadcock’s Torsion II has been described asbeing like a stairway to the stars. It is an example ofthe artist’s practice of revisiting his sculptures overtime, transforming them in the process, part of hisstrategy to kick-start new ideas and new sources ofinspiration. Here Hadcock added further sections toan existing work Torsion I, already a tall spirallingform, as he was preparing for his exhibition inCanary Wharf’s Jubilee Park in Spring 2011. Torsion IIand Helisphere were purchased for the collection.

DS KONSTANTIN GRCIC | Six Public Clocks | 1999 | steel, glassEXTERIOR Reuters Plaza Six Public Clocks by Konstantin Grcic was thewinning design in a competition inviting proposalsfor this public space. His playful installation is basedon the iconic Swiss railway clock but here each ofthe 12 faces shows a single and different numeral.German designer Grcic is best known for hisfurniture and product design. Based in Munich butworking internationally, Grcic has won numerousprestigious awards, such as Honorary Royal Designerfor Industry awarded by the RSA in 2009.

DT SERGIO FERMARIELLO | Guerrieri (Warriors) | 2013 | aluminium laser cut-out, painted INTERIOR One Canada Square lobby, ground levelInitially studying sciences at the University ofNaples, Sergio Fermariello soon turned his attentionto art, focussing on ideas around collectiveunconscious memory. In 1993 he represented Italy atthe Venice Biennale with a body of work developinghis exploration of ‘The Warrior’, taking archetypalsymbols and shapes from antiquity and mythology.In 1995 he began making works that were partpainting part sculpture, as shown in the works here.

DU WILLIAM TURNBULL | Blade of Venus | 1985 | bronzeINTERIOR One Canada Square lobby, ground levelBlade of Venus by William Turnbull (1922–2012) ispart of a series of bronzes that originated in theshape of Japanese swords and Chinese choppingknives. The metamorphosis of these hiddenreferences adds an element of ambiguity and thesurreal, giving the image a wide frame of referenceand a compelling figurative identity. WilliamTurnbull’s bronzes are distinguished by a richcontrast in surface, patina and detail, which create a kind of skin.

EL MICHAEL LYONS | Unity of Opposites: Vortex | 2001 | copper, patinated and waxedEXTERIOR Adams PlaceUnity of Opposites: Vortex is one of a number ofworks inspired by Michael Lyons’ visits to China, forwhose culture he developed a deep affinity. Echoingthe writings of Chinese philosophers, this sculpturehas been described as embodying the tensionswithin modern society between materialisticcravings and spiritual needs. This work and anothersculpture, Shepherd of the Sun, were purchasedfollowing Lyons’ exhibition at Canary Wharf in 2014.

EM KEITH MILOW | Twentieth Century Thames | 1998 | oxidised ironINTERIOR One Canada Square lobby, ground levelTwentieth Century Thames, Keith Milow’s series ofworks for Canary Wharf’s signature building, aremillennial in their conception. If you look closely atthe apparently rusty discs, hundreds of embossednames are revealed. Some are immediatelyrecognisable, others more obscure, but all are artists,composers, writers and architects who made theirmark in the twentieth century. A prolific sculptor,painter and installation artist, Milow has exhibitedextensively since the 1960s.

EN LAWSON OYEKAN | Trail with Light (LIP) Series | 1998 | terracottaINTERIOR One Canada Square lobby, ground levelFour works from Lawson Oyekan’s series Trail withLight are on permanent display in One CanadaSquare, rough-hewn terracotta vessels that havebeen described by Oyekan as reflecting emotionalexperiences in their surface treatment. They look asif they have been exploded and put back togetheragain. Oyekan was born in South London and raisedin Nigeria. In 2001 he won the Grand Prix Award inthe 1st World Ceramic Biennale, held in Korea. Hehad a solo exhibition at Canary Wharf in 2011.

EO MICHAEL LYONS | Shepherd of the Sun | 1994 | steel, paintedINTERIOR Park Pavilion, upper levelWhile creating Shepherd of the Sun Michael Lyonsbegan to think of the good shepherd of Christianity,but the discs also seemed to have a planetary orsolar reference, bringing a more primitive or paganassociation. Both notions are reflected in the title:Orion, the mythological hunter, is often referred toas The Shepherd and the constellation is associatedwith the sun-god. This work and Unity of Opposites:Vortex were purchased following Lyons’ exhibition atCanary Wharf in 2014.

EP DO KÖNIG VASSILAKIS | Tree | 2003 | bronzeINTERIOR 40 Bank Street lobby, ground levelDo König Vassilakis’ work is strongly influenced bythe mythology and the culture of Ancient Greeceand Rome. Her long-standing partnership with theGreek artist Takis, who she met in 1968 at the VeniceBiennale, led to extensive travel, returning to Greecein 1974. Their close friendship with leading artistsactive during the 1960s and 1970s, including SalvatorDali, Max Ernst and Arman, served to infuse her workwith a surrealist edge, beautifully expressed in thisbronze tree.

EQ RACHAEL WOODMAN | Vertical 40 | 2004 | glassINTERIOR 40 Bank Street lobby, ground level Rachael Woodman’s tall elegant, glass pieces werecreated especially for 40 Bank Street and theymirror the far-reaching skyscrapers that surroundthe building. Her work shows a concern for simplicityof line and purity of form, whilst the subtle colourscelebrate the inner beauty of glass. Woodman hasworked in the medium for many years, and herglasswork is found in a number of public collections,including the V&A Museum and the ContemporaryArts Society.

ER BOB ALLEN | It Takes Two | 2002 | bronzeEXTERIOR Canada Square ParkFollowing a serious operation, Bob Allen wasadvised to take up carving to strengthen his left arm.Discovering he had talent, Allen began creatingsculpture, taking his inspiration from nature, oftencarving wood using traditional tools and working inthe open air. It Takes Two is a bronze cast of acarving from the fallen bough of an ancient EnglishYew listed in the Domesday Book. Allen’s aim is toreveal the hidden quality in the wood. Here it wasthe female form that emerged first, later a male form.

ES ALISON CROWTHER | Kidney I | Kidney II | 2008 | green oakINTERIOR 40 Bank Street lobby, ground levelAlison Crowther is both a sculptor and a furnituremaker. Her preferred medium is green oak, whichshe always tries to source from sustainablewoodland. Kidney I is carved in direct relation to themedullary rays of the wood, the carving followingthem from ‘top’ to ‘bottom’ of the form. Kidney IIrelates to the annual rings on the wood, the ripplingsurface and carving marks following their concentric‘rings’ around the form. Gentle forms, they appear assoft and malleable as kidney would be.

ET DO KÖNIG VASSILAKIS | Angelo I | 2000 | bronze, steel, glass, gilded ceramicINTERIOR 40 Bank Street lobby, ground level Angelo I was the second work by Do König Vassilakisto be purchased for Canary Wharf’s permanentcollection. Like Tree, this sculpture graces the lobbyof 40 Bank Street and reflects the artist’s keeninterest in Greek mythology and culture, as well as inSurrealism. Both pieces were cast in Italy where theartist has lived since 1989, using the foundries ofPietrasanta and Impruneta. A third sculpture by theartist is located in Westferry Circus Gardens.

EU JENNIE MONCUR | Redberries | Blueberries | 1990 | paint on linenINTERIOR 40 Bank Street lobby, ground levelJennie Moncur works mainly in textiles to createsumptuous and robust woven designs. Asunexecuted designs for tapestries, her Redberriesand Blueberries paintings echo the same bold shapesand bright colours as the weavings, abstracting andjuxtaposing traditional and decorative references.Moncur has carried out a number of large-scalecommissions in different media, including thelinoleum floor at the Institute of Contemporary Arts,London in 1987, reinstated in 2008.

FL EMMA BIGGS | Wharf Walk | 2003 and 2013 | stone and glass mosaicINTERIOR Jubilee Place retail mall, lower levelEmma Biggs’ Wharf Walk takes us through theJubilee Place shopping mall, following a trail of floormosaics depicting some of the trades passingthrough the dockyards that flourished here in earliertimes. Each image is framed by a piece of evocativetext, derived from Biggs’ careful research for thecommission in 2003. In 2013, when the mall wasextended to a lower floor, Biggs was invited tocreate four new mosaics on the same theme. WharfWalk now comprises 17 floor mosaics in all.

FM SOPHIE SMALLHORN | Colour West | 2004 | vinylINTERIOR Jubilee Line Station, north-west escalatorsto retail mall, lower levelGeometry and flat saturated colour are the focalpoints of Sophie Smallhorn’s practice. Her palette ofcoloured vinyls is deceptively simple: proportion andcomposition are manipulated to create playful andpleasing juxtapositions. Smallhorn trained infurniture design, and moved into sculpture aftergraduating. She has since undertaken a range ofinternational exhibitions and commissions, includingan installation in One Canada Square in 2004.

FN ALEXANDER BELESCHENKO | Art Glass Wall | 2002 | antique mouth-blown glassINTERIOR Citigroup, ground levelNot publicly accessible without permission from Citi.

Alexander Beleschenko specialises in architecturalglass, using a variety of techniques to producebeautiful and dramatic effects. His two glass wallsfor Canary Wharf demonstrate different aspects ofhis work. Both are illuminated through computercontrolled lighting, creating slowly changing effects.Here ‘walls of light’ create a corridor made of antiquemouth-blown glass infilled with white resin.

FO ALEXANDER BELESCHENKO | Art Glass Wall | 2002 | glass, lightingINTERIOR Citigroup entrance, Canada Place retail mall,lower levelNot publicly accessible without permission from Citi.

Alexander Beleschenko’s second glass wall forCanary Wharf is visible from the public walkway.Here he employed a new technique using pouredresin infill combined with enamel glass to createswirling shapes. Beleschenko has undertakennumerous public commissions, including works forthe Welsh Assembly Building in Cardiff, the MetOffice in Exeter and Millennium Place in Coventry.

FP SOPHIE SMALLHORN | Colour East | 2004 | vinylINTERIOR Jubilee Line Station, north-east escalatorsto retail mall, lower levelGeometry and flat saturated colour are the focalpoints of Sophie Smallhorn’s practice. Her palette ofcoloured vinyls is deceptively simple: proportion andcomposition are manipulated to create playful andpleasing juxtapositions. Smallhorn trained in furnituredesign, and moved into sculpture after graduating.She collaborated with Populous Architects to designa spectrum of colours for the exterior ‘Wrap’ andinternal features of the 2012 Olympic Stadium.

FQ RON ARAD | The Big Blue | 2000 | glass fibreEXTERIOR Canada Square ParkThe Big Blue functions as a remarkable visual eventwithin Canada Square Park, visible both from groundlevel and from the towering buildings that surroundthe park, as well as acting as illumination for theshopping mall below. A huge, asymmetric glass fibreobject, it rests on a ring of structural glazing thatmakes it appear to float above the ground. Ron Aradis one of Britain’s most inventive designers, whosework crosses boundaries between art, design andarchitecture.

FR ANTONI MALINOWSKI | Untitled | 2000 | acrylic on canvasINTERIOR Canada Place retail mall, lower levelAntoni Malinowski’s painting in brilliant blue isexecuted in his trademark pure pigment, resulting ina vivid and vibrant matt finish. It evokes dreams ofriver currents, shoals of fish, and the gentle play of light on water. The original floor of the adjacentmall, since replaced, was designed by Malinowski. He has undertaken a number of public commissionsworking with architects Haworth Tomkins, whichinclude the Royal Court Theatre, London where hecreated a wall drawing of 86 square metres.

FS TERENCE WOODGATE | Seating | 2000 | bead-blasted aluminiumINTERIOR Canada Place retail mall, lower levelTerence Woodgate designed the public seating inthe Canada Place retail mall to complement theoriginal floor design by Antoni Malinowski, sincereplaced, which evoked a sense of water. In response,Woodgate decided to create aluminium seating withinvisible fixings that appear to float like rafts acrossthe floor and reflect the light from above. Woodgateestablished his design studio in 1988 specialising infurniture and lighting, and has designed publicseating for many varied environments.

FT MICHAEL BRENNAND-WOOD | Flight Paths | 2005 | mosaic, wood, metalINTERIOR East Wintergarden, ground levelPrimarily known as a textile artist, Michael Brennand-Wood created Flight Paths in response to thecolours, textures and architecture of the EastWintergarden. Four constructed relief panels hang in pairs either side of this airy glass-roofed space,each panel comprised of layers of tracks made up oftiny mosaic tiles in red, white, black and grey. Likedrawings suspended in air, the works arediagrammatical interpretations of the wing tipvortexes alluded to in the title, Flight Paths.

FU EILIS O’CONNELL | Under and Over II | Under and Over IV | 2000 | bronzeINTERIOR 50 Bank Street lobby, ground levelOriginally produced in birchwood, resin and plasterthese sculptures were realised in bronze for CanaryWharf, following her exhibition here in 2002. Eachcreates a sense of enclosure or the impression of agarment recently vacated. The forms reflect thepliable nature of the original wooden sheets thatO’Connell dampened and bent into shape, clampingthem into position to dry. Her attention to surfacedetail has been meticulously translated into thecarefully worked patina of the bronze.

GL IGOR MITORAJ | Centauro | 1984 | bronzeEXTERIOR Montgomery SquareIgor Mitoraj’s Centauro shows the great mythologicalbeast partially incomplete but ready for battle. Atruly European artist, Mitoraj (d.2014) was born inEast Germany of Polish/French parents and initiallystudied classical painting in Krakow before movingto Paris in 1968. He began experimenting withsculpture following a visit to South America andthen embarked on a series of study trips to Greece.Two other sculptures are located on the estate, inColumbus Courtyard and outside West Wintergarden.

GM NIGEL ROSS | Cross Way | 2003 | European larch | Arbor | 2013 | oakEXTERIOR Montgomery SquareCross Way and Arbor were each carved by handfrom single tree trunks. A self-taught sculptor, NigelRoss developed his skills after working as a treesurgeon in London and as a forest contractor on theIsle of Arran. By the mid-1990s he was working full-time as a sculptor and maker, usually using fallen treesand taking inspiration from the rhythms and energyof nature. Based in Dunkeld, Perthshire, some of hisworks have a functional element and his sculpturalbenches are found in rural and urban settings.

GN DANNY LANE | Parting of the Waves | 2003 | glass, steelINTERIOR 20 Canada Square lobby, ground levelDanny Lane is well known for his monumentalsculptures made of horizontally stacked glass. Hiswork ranges from the design and production ofglass furniture combined with wrought iron, to large-scale architectural commissions that incorporateboth engraving and stacking techniques. At CanaryWharf he explored for the first time the potential ofstacking in the vertical and created two undulatingglass walls, which transform this space into anexperience likened to the ‘parting of the seas’.

GO SURESH DUTT | Drawing Cube (Blue) | 2010 | mild steelEXTERIOR Montgomery SquareSuresh Dutt was the winner of the First@108 PublicArt Award in 2010, the second year of this award bythe Royal British Society of Sculptors to provide anopportunity for artists new to public art to create alarge-scale sculpture commission. The Award wassponsored by Canary Wharf Group in its first twoyears. Part of the Award was the opportunity todisplay the finished sculpture at Canary Wharf, andDrawing Cube (Blue) has now been added to CanaryWharf’s permanent collection.

GP EILIS O’CONNELL | Sacrificial Anode | 2007 | cast bronze, stainless steelEXTERIOR Montgomery SquareMade in varying materials from steel and bronze toplastics and found objects, Eilis O’Connell’ssculptures show her meticulous attention to surfacedetail and close observation of the world around her.A ‘sacrificial anode’ refers to an anode attached to a metal object, such as a boat or underground tank,in order to inhibit its corrosion. This sculpture waspurchased following O’Connell’s exhibition in JubileePark in Spring 2013. Two other sculptures by theartist are found in 50 Bank Street.

GQ BILL CULBERT | Coup de Foudre II | 2009 | neonINTERIOR Churchill Place retail mall, lower levelBill Culbert is one of the world’s leading light artistsand has been working in this medium for over fortyyears, with works in public collections worldwide. His neon light sculpture, Coup de Foudre II, consistsof lines of coloured light that move effortlesslyinside and outside the building creating the illusionof one continuous piece. It was fabricated by theBirmingham-based City Neon Sign Company Ltd,whose director Laszlo Gregor has collaborated withCulbert and other artists.

This map is designed to enable you to find and identify all the works of art on the estate purchased, commissionedor loaned by Canary Wharf Group.

These include stand-alone pieces and integrated artist-architecturalworks, allexecuted bysome of themost inspiredartists, designersand craftsmen of today.

The works are numbered sequentially as to their location on theestate from west to east, and the text indicates whetherthey are sited inside or outside.

Art MapPUBLIC ART AT CANARY WHARF

CWG 18pp Art Map 4th edition_Layout 1 26/03/2015 13:32 Page 11

This map is designed to enable you to find and identify all the works of art on the estate purchased, commissionedor loaned by Canary Wharf Group.

These include stand-alone pieces and integrated artist-architecturalworks, allexecuted bysome of themost inspiredartists, designersand craftsmen of today.

The works are numbered sequentially as to their location on theestate from west to east, and the text indicates whetherthey are sited inside or outside.

ArtMapPUBLIC ART AT CANARY WHARF

CWG 18pp Art Map 4th edition-revise 210x99mm v10_Layout 1 04/11/2015 15:08 Page 1

CR MARTIN RICHMAN | Float | 2002 | light, glass, steelEXTERIOR The North ColonnadeMartin Richman’s Float was designed to transforman otherwise unremarkable space into an upliftingvisual experience after dusk. His working life beganas a lighting designer in the music industry, but from1985 he started his artistic career exploring themedium of light. He has had numerous exhibitions aswell as permanent public commissions andtemporary projects. In 2010 he completed a schemewith Eric Parry Architects, illuminating the faiencefaçade of a building in Bond Street, London.

CS SINTA TANTRA | A Beautiful Sunset Mistaken for a Dawn | 2012 | paint, with underbridge lighting scheme by LightingDesign International (LDI)EXTERIOR DLR Bridge over Middle Dock Sinta Tantra’s inspiration for her painting schemewas drawn from the natural elements, ever-changinglight and towering buildings of Canary Wharf. Sunsetand sunrise influenced her palette: blues and greysworking well during the day; purples and pinks atnight. LDI’s lighting scheme brings the bridge to lifeat dusk. LED projectors wash soft light from eachend, the colours changing from early to late evening.

CT CHARLES HADCOCK | Helisphere | 2009 | cast ironEXTERIOR Heron Quays DLR StationIn Helisphere Charles Hadcock has combined thecharacteristics of the sphere with that of the helix –a curve in 3-dimensional space. The sphere is madein horizontal sections, which spin out of alignmentwith its skin, causing a curved and steppeddistortion that is the helix curve. Walking around thesculpture provides the viewer with a multiplicity ofgently changing shapes. Helisphere and Torsion II,also in the permanent collection, were shown here inhis exhibition in Jubilee Park in 2011.

CU CATHERINE YASS | Descent: HQ3 | 2002 | photographic lightboxINTERIOR Heron Walk link to Jubilee Place, lower levelDescent: HQ3 is one of three large-scalephotographic images of buildings on the estateunder construction commissioned by Canary WharfGroup. Between November 2001 and January 2002Yass requested permission to take photographs andfilm from one of the Canary Wharf towers underconstruction, for a body of work exhibited for herTurner Prize nomination in 2002. Yass is noted forher films and intensely-coloured photographs thatoften combine the positive and the negative.

DL EMMA BIGGS | Sartor Resartus | 2003 | stone and glass mosaicINTERIOR Heron Walk to Jubilee Place, lower levelEmma Biggs’ Mosaic Workshop is one of Britain’sleading studio workshops, creating walls, floors andsmall-scale artworks using the ancient method ofmosaic. Sartor Resartus depicts a playful collage of the different forms of dress of the office workersof Canary Wharf. Between the two wall panels, afloor roundel shows an amusing collage of footwear,from office brogues to dance slippers. Additionalmosaics by Biggs are found in Cabot Place West and Jubilee retail malls.

DM KEITH RAND | Original Form | 1999 | Douglas firEXTERIOR North Dockside, rear of 25 North ColonnadeOriginal Form was made specifically for Canary Wharfas a part of the Millennium exhibition The Shape ofthe Century, and subsequently purchased for thecollection. Keith Rand (1956–2013) studied sculptureat Winchester School of Art. He moved to Scotlandin 1984, returning to the south-west of England in1996. He established his reputation for innovativesculpture and sensitively informed landscape worksinspired by the natural world, realising his ideasthrough a poetic vision and technical rigour.

DN KATE BLEE | Moving On | 1999 | enamel on glassINTERIOR 25 North Colonnade atrium, ground levelKate Blee is well known for her vibrant textiledesigns, but for this commission at Canary Wharfshe turned her hand to glass for the first time.Moving On explores the process of light and tonewith almost painterly effect. This glass screen ismade up of a series of six panels, each painted witha different shade of strong blue enamel, from‘swimming pool’ blue to cerulean. Blee has undertakenmany public and private commissions and her workcan be found in many public collections.

DO DANIEL CHADWICK | Galaxy III | 2006 | steel, fibreglassINTERIOR West Wintergarden, ground levelThe parabolic fibreglass forms of Galaxy III aresuspended from the glass roof of West Wintergardenin graceful equilibrium, moving almost imperceptiblyin the natural air currents. Created in DanielChadwick’s Stroud workshop, the sculptures aretypical of the commissions for which he has becomeknown: otherworldly organic forms that contrast and complement the open and airy spaces ofcontemporary architecture. He exhibited acomparable mobile in Gloucester Cathedral in 2010.

DP MAUREEN ANNE HOLLEY | The Spirit of East London | 2007 |photographic lightboxINTERIOR West Wintergarden, ground levelMaureen Anne Holley has always been fascinated byLondon: its architecture, urban landscape and people.The Spirit of East London was purchased by CanaryWharf Group from her 2007 degree exhibition at theUniversity of East London, a photographic montageset within a composite lightbox that captures thespirit and atmosphere of docklands, the vibrancy ofregeneration as well as her East End childhood,where her father worked in the Royal Docks.

DQ IGOR MITORAJ | Testa Addormentata | 1983 | bronzeEXTERIOR Bank Street, outside West WintergardenThree sculptures by Polish artist Igor Mitoraj (1944–2014) are found at Canary Wharf, representing someof the themes that occupied him: here the bandagedface of Testa Addormentata (‘Head Asleep’). Hisenigmatic works combine the surreal with theantiquity of Greece and Rome. His earlier sculpturewas predominantly in terracotta or bronze, but heturned to marble following a trip to Carrara, Italy in 1979. In 2012 he was awarded the KnightCommander’s Cross, one of Poland’s highest honours.

DR CHARLES HADCOCK | Torsion II | 2009–11 | cast ironEXTERIOR Bank Street, outside Jubilee ParkCharles Hadcock’s Torsion II has been described asbeing like a stairway to the stars. It is an example ofthe artist’s practice of revisiting his sculptures overtime, transforming them in the process, part of hisstrategy to kick-start new ideas and new sources ofinspiration. Here Hadcock added further sections toan existing work Torsion I, already a tall spirallingform, as he was preparing for his exhibition inCanary Wharf’s Jubilee Park in Spring 2011. Torsion IIand Helisphere were purchased for the collection.

DS KONSTANTIN GRCIC | Six Public Clocks | 1999 | steel, glassEXTERIOR Reuters Plaza Six Public Clocks by Konstantin Grcic was thewinning design in a competition inviting proposalsfor this public space. His playful installation is basedon the iconic Swiss railway clock but here each ofthe 12 faces shows a single and different numeral.German designer Grcic is best known for hisfurniture and product design. Based in Munich butworking internationally, Grcic has won numerousprestigious awards, such as Honorary Royal Designerfor Industry awarded by the RSA in 2009.

DT SERGIO FERMARIELLO | Guerrieri (Warriors) | 2013 | aluminium laser cut-out, painted INTERIOR One Canada Square lobby, ground levelInitially studying sciences at the University ofNaples, Sergio Fermariello soon turned his attentionto art, focussing on ideas around collectiveunconscious memory. In 1993 he represented Italy atthe Venice Biennale with a body of work developinghis exploration of ‘The Warrior’, taking archetypalsymbols and shapes from antiquity and mythology.In 1995 he began making works that were partpainting part sculpture, as shown in the works here.

DU WILLIAM TURNBULL | Blade of Venus | 1985 | bronzeINTERIOR One Canada Square lobby, ground levelBlade of Venus by William Turnbull (1922–2012) ispart of a series of bronzes that originated in theshape of Japanese swords and Chinese choppingknives. The metamorphosis of these hiddenreferences adds an element of ambiguity and thesurreal, giving the image a wide frame of referenceand a compelling figurative identity. WilliamTurnbull’s bronzes are distinguished by a richcontrast in surface, patina and detail, which create a kind of skin.

EL MICHAEL LYONS | Unity of Opposites: Vortex | 2001 | copper, patinated and waxedEXTERIOR Adams PlaceUnity of Opposites: Vortex is one of a number ofworks inspired by Michael Lyons’ visits to China, forwhose culture he developed a deep affinity. Echoingthe writings of Chinese philosophers, this sculpturehas been described as embodying the tensionswithin modern society between materialisticcravings and spiritual needs. This work and anothersculpture, Shepherd of the Sun, were purchasedfollowing Lyons’ exhibition at Canary Wharf in 2014.

EM KEITH MILOW | Twentieth Century Thames | 1998 | oxidised ironINTERIOR One Canada Square lobby, ground levelTwentieth Century Thames, Keith Milow’s series ofworks for Canary Wharf’s signature building, aremillennial in their conception. If you look closely atthe apparently rusty discs, hundreds of embossednames are revealed. Some are immediatelyrecognisable, others more obscure, but all are artists,composers, writers and architects who made theirmark in the twentieth century. A prolific sculptor,painter and installation artist, Milow has exhibitedextensively since the 1960s.

EN LAWSON OYEKAN | Trail with Light (LIP) Series | 1998 | terracottaINTERIOR One Canada Square lobby, ground levelFour works from Lawson Oyekan’s series Trail withLight are on permanent display in One CanadaSquare, rough-hewn terracotta vessels that havebeen described by Oyekan as reflecting emotionalexperiences in their surface treatment. They look asif they have been exploded and put back togetheragain. Oyekan was born in South London and raisedin Nigeria. In 2001 he won the Grand Prix Award inthe 1st World Ceramic Biennale, held in Korea. Hehad a solo exhibition at Canary Wharf in 2011.

EO MICHAEL LYONS | Shepherd of the Sun | 1994 | steel, paintedINTERIOR Park Pavilion, upper levelWhile creating Shepherd of the Sun Michael Lyonsbegan to think of the good shepherd of Christianity,but the discs also seemed to have a planetary orsolar reference, bringing a more primitive or paganassociation. Both notions are reflected in the title:Orion, the mythological hunter, is often referred toas The Shepherd and the constellation is associatedwith the sun-god. This work and Unity of Opposites:Vortex were purchased following Lyons’ exhibition atCanary Wharf in 2014.

EP DO KÖNIG VASSILAKIS | Tree | 2003 | bronzeINTERIOR 40 Bank Street lobby, ground levelDo König Vassilakis’ work is strongly influenced bythe mythology and the culture of Ancient Greeceand Rome. Her long-standing partnership with theGreek artist Takis, who she met in 1968 at the VeniceBiennale, led to extensive travel, returning to Greecein 1974. Their close friendship with leading artistsactive during the 1960s and 1970s, including SalvatorDali, Max Ernst and Arman, served to infuse her workwith a surrealist edge, beautifully expressed in thisbronze tree.

EQ RACHAEL WOODMAN | Vertical 40 | 2004 | glassINTERIOR 40 Bank Street lobby, ground level Rachael Woodman’s tall elegant, glass pieces werecreated especially for 40 Bank Street and theymirror the far-reaching skyscrapers that surroundthe building. Her work shows a concern for simplicityof line and purity of form, whilst the subtle colourscelebrate the inner beauty of glass. Woodman hasworked in the medium for many years, and herglasswork is found in a number of public collections,including the V&A Museum and the ContemporaryArts Society.

ER BOB ALLEN | It Takes Two | 2002 | bronzeEXTERIOR Canada Square ParkFollowing a serious operation, Bob Allen wasadvised to take up carving to strengthen his left arm.Discovering he had talent, Allen began creatingsculpture, taking his inspiration from nature, oftencarving wood using traditional tools and working inthe open air. It Takes Two is a bronze cast of acarving from the fallen bough of an ancient EnglishYew listed in the Domesday Book. Allen’s aim is toreveal the hidden quality in the wood. Here it wasthe female form that emerged first, later a male form.

ES ALISON CROWTHER | Kidney I | Kidney II | 2008 | green oakINTERIOR 40 Bank Street lobby, ground levelAlison Crowther is both a sculptor and a furnituremaker. Her preferred medium is green oak, whichshe always tries to source from sustainablewoodland. Kidney I is carved in direct relation to themedullary rays of the wood, the carving followingthem from ‘top’ to ‘bottom’ of the form. Kidney IIrelates to the annual rings on the wood, the ripplingsurface and carving marks following their concentric‘rings’ around the form. Gentle forms, they appear assoft and malleable as kidney would be.

ET DO KÖNIG VASSILAKIS | Angelo I | 2000 | bronze, steel, glass, gilded ceramicINTERIOR 40 Bank Street lobby, ground level Angelo I was the second work by Do König Vassilakisto be purchased for Canary Wharf’s permanentcollection. Like Tree, this sculpture graces the lobbyof 40 Bank Street and reflects the artist’s keeninterest in Greek mythology and culture, as well as inSurrealism. Both pieces were cast in Italy where theartist has lived since 1989, using the foundries ofPietrasanta and Impruneta. A third sculpture by theartist is located in Westferry Circus Gardens.

EU JENNIE MONCUR | Redberries | Blueberries | 1990 | paint on linenINTERIOR 40 Bank Street lobby, ground levelJennie Moncur works mainly in textiles to createsumptuous and robust woven designs. Asunexecuted designs for tapestries, her Redberriesand Blueberries paintings echo the same bold shapesand bright colours as the weavings, abstracting andjuxtaposing traditional and decorative references.Moncur has carried out a number of large-scalecommissions in different media, including thelinoleum floor at the Institute of Contemporary Arts,London in 1987, reinstated in 2008.

FL EMMA BIGGS | Wharf Walk | 2003 and 2013 | stone and glass mosaicINTERIOR Jubilee Place retail mall, lower levelEmma Biggs’ Wharf Walk takes us through theJubilee Place shopping mall, following a trail of floormosaics depicting some of the trades passingthrough the dockyards that flourished here in earliertimes. Each image is framed by a piece of evocativetext, derived from Biggs’ careful research for thecommission in 2003. In 2013, when the mall wasextended to a lower floor, Biggs was invited tocreate four new mosaics on the same theme. WharfWalk now comprises 17 floor mosaics in all.

FM SOPHIE SMALLHORN | Colour West | 2004 | vinylINTERIOR Jubilee Line Station, north-west escalatorsto retail mall, lower levelGeometry and flat saturated colour are the focalpoints of Sophie Smallhorn’s practice. Her palette ofcoloured vinyls is deceptively simple: proportion andcomposition are manipulated to create playful andpleasing juxtapositions. Smallhorn trained infurniture design, and moved into sculpture aftergraduating. She has since undertaken a range ofinternational exhibitions and commissions, includingan installation in One Canada Square in 2004.

FN ALEXANDER BELESCHENKO | Art Glass Wall | 2002 | antique mouth-blown glassINTERIOR Citigroup, ground levelNot publicly accessible without permission from Citi.

Alexander Beleschenko specialises in architecturalglass, using a variety of techniques to producebeautiful and dramatic effects. His two glass wallsfor Canary Wharf demonstrate different aspects ofhis work. Both are illuminated through computercontrolled lighting, creating slowly changing effects.Here ‘walls of light’ create a corridor made of antiquemouth-blown glass infilled with white resin.

FO ALEXANDER BELESCHENKO | Art Glass Wall | 2002 | glass, lightingINTERIOR Citigroup entrance, Canada Place retail mall,lower levelNot publicly accessible without permission from Citi.

Alexander Beleschenko’s second glass wall forCanary Wharf is visible from the public walkway.Here he employed a new technique using pouredresin infill combined with enamel glass to createswirling shapes. Beleschenko has undertakennumerous public commissions, including works forthe Welsh Assembly Building in Cardiff, the MetOffice in Exeter and Millennium Place in Coventry.

FP SOPHIE SMALLHORN | Colour East | 2004 | vinylINTERIOR Jubilee Line Station, north-east escalatorsto retail mall, lower levelGeometry and flat saturated colour are the focalpoints of Sophie Smallhorn’s practice. Her palette ofcoloured vinyls is deceptively simple: proportion andcomposition are manipulated to create playful andpleasing juxtapositions. Smallhorn trained in furnituredesign, and moved into sculpture after graduating.She collaborated with Populous Architects to designa spectrum of colours for the exterior ‘Wrap’ andinternal features of the 2012 Olympic Stadium.

FQ RON ARAD | The Big Blue | 2000 | glass fibreEXTERIOR Canada Square ParkThe Big Blue functions as a remarkable visual eventwithin Canada Square Park, visible both from groundlevel and from the towering buildings that surroundthe park, as well as acting as illumination for theshopping mall below. A huge, asymmetric glass fibreobject, it rests on a ring of structural glazing thatmakes it appear to float above the ground. Ron Aradis one of Britain’s most inventive designers, whosework crosses boundaries between art, design andarchitecture.

FR ANTONI MALINOWSKI | Untitled | 2000 | acrylic on canvasINTERIOR Canada Place retail mall, lower levelAntoni Malinowski’s painting in brilliant blue isexecuted in his trademark pure pigment, resulting ina vivid and vibrant matt finish. It evokes dreams ofriver currents, shoals of fish, and the gentle play of light on water. The original floor of the adjacentmall, since replaced, was designed by Malinowski. He has undertaken a number of public commissionsworking with architects Haworth Tomkins, whichinclude the Royal Court Theatre, London where hecreated a wall drawing of 86 square metres.

FS TERENCE WOODGATE | Seating | 2000 | bead-blasted aluminiumINTERIOR Canada Place retail mall, lower levelTerence Woodgate designed the public seating inthe Canada Place retail mall to complement theoriginal floor design by Antoni Malinowski, sincereplaced, which evoked a sense of water. In response,Woodgate decided to create aluminium seating withinvisible fixings that appear to float like rafts acrossthe floor and reflect the light from above. Woodgateestablished his design studio in 1988 specialising infurniture and lighting, and has designed publicseating for many varied environments.

FT MICHAEL BRENNAND-WOOD | Flight Paths | 2005 | mosaic, wood, metalINTERIOR East Wintergarden, ground levelPrimarily known as a textile artist, Michael Brennand-Wood created Flight Paths in response to thecolours, textures and architecture of the EastWintergarden. Four constructed relief panels hang in pairs either side of this airy glass-roofed space,each panel comprised of layers of tracks made up oftiny mosaic tiles in red, white, black and grey. Likedrawings suspended in air, the works arediagrammatical interpretations of the wing tipvortexes alluded to in the title, Flight Paths.

FU EILIS O’CONNELL | Under and Over II | Under and Over IV | 2000 | bronzeINTERIOR 50 Bank Street lobby, ground levelOriginally produced in birchwood, resin and plasterthese sculptures were realised in bronze for CanaryWharf, following her exhibition here in 2002. Eachcreates a sense of enclosure or the impression of agarment recently vacated. The forms reflect thepliable nature of the original wooden sheets thatO’Connell dampened and bent into shape, clampingthem into position to dry. Her attention to surfacedetail has been meticulously translated into thecarefully worked patina of the bronze.

GL IGOR MITORAJ | Centauro | 1984 | bronzeEXTERIOR Montgomery SquareIgor Mitoraj’s Centauro shows the great mythologicalbeast partially incomplete but ready for battle. Atruly European artist, Mitoraj (d.2014) was born inEast Germany of Polish/French parents and initiallystudied classical painting in Krakow before movingto Paris in 1968. He began experimenting withsculpture following a visit to South America andthen embarked on a series of study trips to Greece.Two other sculptures are located on the estate, inColumbus Courtyard and outside West Wintergarden.

GM NIGEL ROSS | Cross Way | 2003 | European larch | Arbor | 2013 | oakEXTERIOR Montgomery SquareCross Way and Arbor were each carved by handfrom single tree trunks. A self-taught sculptor, NigelRoss developed his skills after working as a treesurgeon in London and as a forest contractor on theIsle of Arran. By the mid-1990s he was working full-time as a sculptor and maker, usually using fallen treesand taking inspiration from the rhythms and energyof nature. Based in Dunkeld, Perthshire, some of hisworks have a functional element and his sculpturalbenches are found in rural and urban settings.

GN DANNY LANE | Parting of the Waves | 2003 | glass, steelINTERIOR 20 Canada Square lobby, ground levelDanny Lane is well known for his monumentalsculptures made of horizontally stacked glass. Hiswork ranges from the design and production ofglass furniture combined with wrought iron, to large-scale architectural commissions that incorporateboth engraving and stacking techniques. At CanaryWharf he explored for the first time the potential ofstacking in the vertical and created two undulatingglass walls, which transform this space into anexperience likened to the ‘parting of the seas’.

GO SURESH DUTT | Drawing Cube (Blue) | 2010 | mild steelEXTERIOR Montgomery SquareSuresh Dutt was the winner of the First@108 PublicArt Award in 2010, the second year of this award bythe Royal British Society of Sculptors to provide anopportunity for artists new to public art to create alarge-scale sculpture commission. The Award wassponsored by Canary Wharf Group in its first twoyears. Part of the Award was the opportunity todisplay the finished sculpture at Canary Wharf, andDrawing Cube (Blue) has now been added to CanaryWharf’s permanent collection.

GP EILIS O’CONNELL | Sacrificial Anode | 2007 | cast bronze, stainless steelEXTERIOR Montgomery SquareMade in varying materials from steel and bronze toplastics and found objects, Eilis O’Connell’ssculptures show her meticulous attention to surfacedetail and close observation of the world around her.A ‘sacrificial anode’ refers to an anode attached to a metal object, such as a boat or underground tank,in order to inhibit its corrosion. This sculpture waspurchased following O’Connell’s exhibition in JubileePark in Spring 2013. Two other sculptures by theartist are found in 50 Bank Street.

GQ BILL CULBERT | Coup de Foudre II | 2009 | neonINTERIOR Churchill Place retail mall, lower levelBill Culbert is one of the world’s leading light artistsand has been working in this medium for over fortyyears, with works in public collections worldwide. His neon light sculpture, Coup de Foudre II, consistsof lines of coloured light that move effortlesslyinside and outside the building creating the illusionof one continuous piece. It was fabricated by theBirmingham-based City Neon Sign Company Ltd,whose director Laszlo Gregor has collaborated withCulbert and other artists.

This map is designed to enable you to find and identify all the works of art on the estate purchased, commissionedor loaned by Canary Wharf Group.

These include stand-alone pieces and integrated artist-architecturalworks, allexecuted bysome of themost inspiredartists, designersand craftsmen of today.

The works are numbered sequentially as to their location on theestate from west to east, and the text indicates whetherthey are sited inside or outside.

Art MapPUBLIC ART AT CANARY WHARF

CWG 18pp Art Map 4th edition_Layout 1 26/03/2015 13:32 Page 11

This map is designed to enable you to find and identify all the works of art on the estate purchased, commissionedor loaned by Canary Wharf Group.

These include stand-alone pieces and integrated artist-architecturalworks, allexecuted bysome of themost inspiredartists, designersand craftsmen of today.

The works are numbered sequentially as to their location on theestate from west to east, and the text indicates whetherthey are sited inside or outside.

ArtMapPUBLIC ART AT CANARY WHARF

CWG 18pp Art Map 4th edition-revise 210x99mm v10_Layout 1 04/11/2015 15:08 Page 1