In my last blog post, I explained the process behind the new lift installation at Q-Park Cavendish Square. These are some recent photos showing the glass lift in its environment.
Visual Artist’s Abstract: Cavendish Square Q- Park Glass Lift 2015
In January 2014 I was contacted by the architects Potter & Holme who were working on renovation plans for Q-Park Cavendish Square underground car park. The Westminster Council planning application for the site stipulated that there needed to be an artistic visual element to the plan and I was asked to create imagery for elevations on the newly constructed pedestrian glass lift cube to be sited within the park at ground level.
I was chosen to be the artist as my work is well known for depicting venerable and historic trees and I use primarily traditional methods, notably copper etching. 150-year old London plane trees grow in this green circular oasis. They dominate the square in scale and natural feature and were my chosen subjects for the glass elevation imagery.
This park is a very special environment where flocks of sheep once grazed. It was first developed in 1717 by the English garden designer Charles Bridgeman. It is said that Dick Turpin, the highwayman, robbed a farmer just north of Cavendish Square in 1720 and there are references to the square in numerous Dickens’ books, including Nicholas Nickleby, Little Dorrit and Barnaby Rudge. Today it is a sanctuary for office workers, residents and tourists, a mere step away from the incredible city bustle of Oxford Circus. Many historic and contemporary sculptures are also sited within the park.
I made two onsite visits to the square, drawing directly onto copper plates. My research into the park’s history prior to these visits helped me understand the environment around me; its history subconsciously blended into my imagery.
Back in my studio I completed the four plates, one for each glass elevation. Then Tasmania-based graphic designer, Lynda Warner, expertly adapted my imagery to scale converting each elevation digitally in order for the glass company to transfer my imagery directly onto each glass elevation. The technique used on the glass to hold the image was new to me, but I adapted quickly although I did find it a little restrictive.
The results are ghost-like reflections of the London planes, depending on the strength of light falling on the glass, ever-changing in the moving light patterns of city and sky. My thanks go to architects Mark Potter and Irene Yueng for their support during the whole process and for thinking of me for this fantastic commission. I would also like to thank Mark Pawson at Q-Park for his support.
For more background information on the park: