Undulations
Sherwood Street, W1, London
Artist - Eleanor Lines
Client - The Crown Estate
Architects - Allford Hall Monaghan Morris (AHMM)
Curator - Modus Operandi
Completion Date - September 2017
Image credit © Rob Parrish
Eleanor Lines’ work forms the ground floor entrance façade of the building on Sherwood Street, refurbished by AHMM for The Crown Estate. Her proposal is inspired by the designs of this 1930s art deco building, responding to the Mayan motif found throughout its exterior and the adjacent bridge over the street. Taking this motif as a starting point, the artwork pattern, is assembled from thousands of individually cut and patinated shapes, all varying in tone and thickness to create an illusion of expansion and contraction in scale, forming a sense of rhythm and movement within the metalwork screens.
Eleanor Lines says of the work:
There exists a tension and contradiction between the material used and what it replicates; something static and robust reflecting the behaviour of a lighter form. As the colonnade serves predominantly as a transient passageway, the work also echoes the movement of passers-by, giving the space a rhythmic quality.
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Undulations
Undulations
Sherwood Street, W1, London
Artist - Eleanor Lines
Client - The Crown Estate
Architects - Allford Hall Monaghan Morris (AHMM)
Curator - Modus Operandi
Completion Date - September 2017
Image credit © Rob Parrish
Eleanor Lines’ work forms the ground floor entrance façade of the building on Sherwood Street, refurbished by AHMM for The Crown Estate. Her proposal is inspired by the designs of this 1930s art deco building, responding to the Mayan motif found throughout its exterior and the adjacent bridge over the street. Taking this motif as a starting point, the artwork pattern, is assembled from thousands of individually cut and patinated shapes, all varying in tone and thickness to create an illusion of expansion and contraction in scale, forming a sense of rhythm and movement within the metalwork screens.
Eleanor Lines says of the work:
There exists a tension and contradiction between the material used and what it replicates; something static and robust reflecting the behaviour of a lighter form. As the colonnade serves predominantly as a transient passageway, the work also echoes the movement of passers-by, giving the space a rhythmic quality.
