Malgorzata Bany and studio vit | Etage Projects, Copenhagen, 20 February – 24 April 2015

Etage Projects, Copenhagen

Most objects made by design have at their core an innate repeatability — this often depends on symmetry — regular, even shapes that can be extruded from a flat material or formed in a mould. The handmade, i.e. the irregular, is removed, diminished, or essentialised. Here, colour too is often subdued or graduated.

This joint installation draws from themes common to the field of design. Both collaborators utilise shapes ratified by a sense of ideal proportion, shapes that, like the perfect wholeness of a net diagram, can be equally manifested in two or three dimensions. Both restrict their use of colour to a careful minimum, often relying on the effect of that cast by light from a remote source, leaving mirrored hues, streaked highlights, and colours in shadow. Both reflect on the emotive content of the unquantifiable in the making of an object — inconsistencies of tone, the presence, movement, and shape-making properties of light, a given material’s catchlights and reflective potential.

It has been said of Gothic architecture that it is an architecture of emotion — that the science of geometry is second to an invocation of a spiritual essence within an imagined celestial interior. That geometry can hang in suspension within a diffused architecture, a space of emergent boundaries and dissolvable shadows, is a point of focus for both Bany and studio vit. Bany in particular, embraces fields of shape and space that share a close connection to Gothic buildings and their attendant environments of objects – altarpieces, quatrefoils, screens, lancet windows. Repeated circles with stucco pigments are arranged in a close tension, nestled and symmetrical, or running in parallel with extended bases and hard right-angle corners suggestive of digitized limestone. Often, her titles play on architectural terminology particular to medieval sites; an apse becomes a semi-circular space seen from directly overhead. This is paired with an equally pronounced interest in the role of the domestic arts, and her fan-like supports and calligraphic brushstrokes also draw strongly on the aesthetics of Japanese interior design. Pulling at such diverse conceptual strands, her collections of shapes evoke a purified language of abstract symbols.

Malgorzata bany

Studio vit take an approach to the geometry of shape and mass that pertains to classical Euclidean theory, the cone, cube, cylinder and sphere dominant juxtapositions in their output. Nevertheless, the aesthetic delicacy and balance of their products draws on the emotive properties of harmonious or imbalanced forms that break the strict ratios of classical proportion. When seen together, their Cone lights become a series of moveable combinations, each of the two forms they comprise interacting with its partner in a singular and divergent counterpoint. As with Bany’s painted surfaces, these combination objects rely on the defining properties of light. They are dense, silky, or rigid triangulations in daylight, emitters of spectral and explosive radiance when alight.

studio vit

With all these works, context is acutely variant. As proportion, light, and formal and spatial relationships are key elements of their production, so too are they defining of the works’ reception within a given space. As with objects of design, they deepen our relationship with a surrounding environment, but as works of a unique nature, they offer and develop repeated forms in un-repetitious and unrepeatable arrangements.

Publication – Ron Haselden | Papillon de la nuit – domobaal editions 2014

This summer sees the publication of On the construction of Papillon de la nuit, a collection of my notes and related photographs and stills concerning the creation and reception of Papillon de la nuit, a monumental sculptural installation in the Brittany countryside by Ron Haselden, one of Britain’s foremost site-specific sculptors. Limited to a run of 200 copies, the publication is available via the DOMOBAAL website.

book display

28 pages, 16 colour photographs, one of which is included as a full-bleed scored and folded A4 loose insert.

domobaal editions – 2014

ISBN 978 1 905957 53 8

Wonders of the Medieval World | Richard L. Feigen and Co., 34 East 69th Street, New York | 29 January – 17 March


Richard L. Feigen and Co., one of New York’s most influential, longest running, and prestigious commercial galleries, representing the likes of James Rosenquist and the estates of Joseph Cornell and Ray Johnson (for which no end of blogs could be penned), has collaborated with Sam Fogg, London’s leading gallery for Medieval Sculpture, Manuscripts, and Works of Art, on an exhibition of twenty two unique, remarkable, and important objects from the Medieval period. Do, if you are New York bound this Spring, visit the gallery, which is open 10am – 6pm Monday to Friday.

TREASURE – featured in Art In Print Jan/Feb 2014

Do pick up a copy of the January – February 2014 edition of Art in Print, which includes Adam Bridgland’s 2013 portfolio TREASURE in its Selected New Editions section.

Adam and I worked on this portfolio, which reuses and reworks reclaimed photographs and postcard imagery from across the twentieth century, for the artist’s solo exhibition at the Idea Store, Whitechapel, last summer, and it was soon after acquired by the department of Prints and Drawings at the British Museum, London.


Public Talk | Adam Bridgland – TREASURE | Monday 15 July

From 6-8pm on Monday 15 July Adam Bridgland, Sotiris Kyriacou (Curator, The Gallery @ Idea Store Whitechapel), and myself, hosted a public panel discussion on the occasion of Adam Bridgland’s solo exhibition TREASURE, which ran until 28 July.

Soho Sex, being painted by the public on Saturday 13 July
Soho Sex, being painted by the public on Saturday 13 July

On Friday 19 July, the second of two painting workshops took place, during which the public were invited to come and ‘colour-in’ the second of two large-scale monochrome wall paintings on display in the gallery space.

Treasure info:invite

Ulysses, l’autre mer, FRAC Bretagne, until 25 August 2013.

If you are passing through Brittany this summer, be sure to look up FRAC Bretagne’s series of new exhibitions organised to celebrate the organisation’s first 30 years. Ron Haselden’s vast Papillon de la Nuit in the grounds of the Manoir des Guerandes just outside of Plouër-sur-Rance coincides with the festivities, and will remain viewable into next year.



Exhibition – Adam Bridgland | TREASURE – Idea Store Gallery, Whitechapel, 28 June – 28 July 2013

Treasure 2

TREASURE is an ambitious new project from renowned London-based painter and printmaker Adam Bridgland, to be held from 28 June until 28 July 2013 at The Gallery @ Idea Store Whitechapel.

Two large wall paintings form the focus of the exhibition, each drawing on a rich array of imagery from old postcard scenes of London life across the twentieth century. At two workshops, to be held in July, the public will be invited to ‘colour-in’ these black and white murals like a paint-by-numbers kit on an enlarged scale, a process that will question the traditionally pristine and off-limits nature of the white-walled gallery space. In addition, a discussion between the artist, Sotiris Kyriacou (curator, The Gallery @ Idea Store Whitechapel), and Matthew Reeves (exhibition curator), will probe the role of public involvement in art projects and the wider context of art in the public realm (for more information visit A beautifully bound portfolio of ten A2 screenprints, from which the designs of the two wall paintings are taken, will be available to purchase in a limited edition of forty sets plus five artist’s proofs.

Bridgland’s practice has grown increasingly large-scale in recent years, pushing his crisp meticulousness and love of the designed emblem into interesting territory. Building on the success of a wall painting commissioned for The Courtauld Institute of Art in 2011, the manipulated and abstracted scenes included in TREASURE incorporate populist themes descriptive of a characteristically British sentimentalism. The Gallery @ Idea Store Whitechapel, with its unparalleled views over the East End skyscape, is a perfect home for the exhibition and one of the area’s busiest public spaces, attracting thousands of visitors each week.

About the artist

Adam Bridgland (b.1979, Leicester) lives and works in London. Since graduating from the Royal College of Art in 2006, he has utilised a diverse range of materials and working methods. From printed text and image to public commissions, from enamel plaques to neon and patinated iron, Bridgland’s practice pursues an incisive and witty exploration of distinctively British sentiments, through imagery imbued with a sense of collective nostalgia and emotive gravity. Vignettes of British back-packers’ holidays, old-fashioned bus tours and childhood seaside breaks that figure strongly in his visual repertoire are often tinged with the melancholic nature of memories, and a feeling of time having passed too quickly. Twinned with this however, is an upbeat celebration of themes distilled from children’s colouring books, paint-by-numbers kits, old public transport posters and kitsch postcards, which the artist often injects with the kaleidoscopic richness of carefully chosen and thickly applied colours. Through his distinctive brand of image-making, everyday or mundane subjects are treated with the importance and status of emblems. Bridgland works in diverse locations, from traditional gallery spaces to old lifeguards’ outposts and seaside resorts. His work is housed in numerous public and private collections, including the V&A, the British Museum, the BBC, Boeing Asia, HBOS, and University College London Hospital.

Ron Haselden – in progress

pap whole

Work on Papillon de la nuit progressing in advance of the opening on 28 April, from 3.30pm onwards at the Manoir des Guerandes, Brittany. 


Strings extending, tensioned, and interlocked along two planes extending 100 meters across a terrace of rough-kept land in the Brittany countryside, and rising to a height of 4 meters.
Ron Haselden is also exhibiting as part of ‘Ulysses, l’autre mer’, the 30-year celebrations of FRAC Bretagne. His work can be viewed at FRAC Bretagne in Rennes and concurrently in Stiff on the Isle of Ouessant between 17 May and 25 August 2013.

pap stretched

Ron Haselden | Papillon de la nuit – Manoir des Guérandes, Bretagne, Avril 2013 – Octobre 2014.

Ron sous la neige

Ron Haselden

Papillon de la nuit

Manoir des Guérandes, Plouër-sur-Rance, Côtes d’Armor, France

Vernissage: 28 Avril 2013

Ouvert du 29 Avril 2013 au 30 Octobre 2014

Papillon de la nuit est un des projets de sculpture le plus ambitieux  réalisé par l’artiste Ron Haselden dans les paysages ruraux de Bretagne. Dans le parc du Manoir des Guérandes, deux vastes plans de cordelettes tressées de couleur, d’une longueur de cent mètres, s’étendent comme des ailes inclinées, qui s’élèvent doucement jusqu’à quatre mètres au dessus du sol. Leurs formes sont semblables à celles des dessins isométriques d’architecture quand leur transformation en installations performatives modifie le point de vue et les angles de perspective. Le soleil dans sa course d’est en ouest joue à travers les surfaces de couleur bleue. Les ombres des nuages, celle des chênes et des marronniers environnants viennent passagèrement assombrir la  lumière du soleil. La nuit, la lune verse une douce lumière qui baigne les vastes plans de l’installation et dessine l’arc des ailes du Papillon. Les visiteurs sont invités à emprunter les nombreux sentiers qui s’entrecroisent sous la structure complexe de tiges d’acier, là où elle enferme des poches de végétation qui peuvent ainsi pousser librement. Ces sentiers, microcosmes de la vie sauvage en Bretagne, permettent d’observer les papillons, les abeilles et les petits animaux qui abondent dans ces jardins.

Papillon de la nuit sera visible pendant 18 mois, du 28 avril 2013 au 30 octobre 2014 dans Le parc des Guérandes qui sera ouvert au public du 28 avril au 9 juin 2013 les samedis, dimanches et jours fériés de 14h à 18h.

Pour toute visite en dehors de ces dates, contacter
Hélène de Ségogne, Association l’Art au fil de la Rance.
T: +0033 (0)6 07 12 28 68

Dans le cadre d‘Ulysses, les célébrations des 30 ans du FRAC Bretagne, Ron Haselden présentera également son travail. Il peut également  être vu à la galerie du FRAC Bretagne à Rennes et au Stiff sur l’île d’Ouessant entre le 17 mai et le 25 août 2013.

À propos de l’artiste
Depuis près de six décennies, Ron Haselden est un des plus importants sculpteurs in situ de Grande Bretagne.  À dix sept ans, Haselden reçoit une bourse Andrew Grant pour étudier la sculpture  à l’Edimbourg Collège of Art de 1961 à 1966. Il continue sur cette voie au Département des Beaux Arts à la Reading University, où il suit, au début des années 70, une spécialisation dans les matériaux mixtes. Il enseigne  également aux écoles de Chelsea et Slade. A la même époque, Ron Haselden prend une part active dans le mouvement du cinéma expérimental. Depuis il produit de nombreuses œuvres à partir de matériaux innovants, tels que des échafaudages, des épaves de bateaux et de fil de pêche, et plus récemment des LEDs et circuits numériques. Sa récente série d’installations in situ à grande échelle comprend des projets à la fois ruraux et architecturaux tant en France et qu’en Grande Bretagne. Nombre de ces projets sont réalisés avec des communautés locales ou avec des exclus de la société. Ainsi Nine Men Drawing en 2009, fut le fruit d’une collaboration étroite avec des prisonniers de la prison de Durham. Ce projet a pris toute sa dimension avec la transposition de dessins de détenus en sculptures lumineuses diffusées dans les cloîtres de la cathédrale de Durham durant le festival  « Lumière ». Plus récemment Ron Haselden a travaillé avec des groupes d’enfants venus de nombreuses écoles londoniennes. Il a transformé leurs dessins en sculptures lumineuses animées, toujours installées sur plusieurs sites le long du canal Régents.

Avec des artistes comme Barry Flanagan et Anthony Caro, Ron Haselden a, dès le début de sa carrière, considérablement remis en question l’orthodoxie de la sculpture britannique post-Victorienne. Le point de départ de sa pratique est le déplacement du socle vers le paysage comme lieu d’exposition. Avec ce déplacement, il a fait dériver l’œuvre loin de son environnement habituel pour recentrer sa signification en relation avec un contexte aléatoire. La structure et l’espace sont les traits caractéristiques de sa pratique, ce sont les sujets qu’il explore constamment en exploitant au maximum les qualités du matériau qu’il utilise dans ses œuvres. L’importance de son influence sur la sculpture et l’art des installations en Grande Bretagne durant les six décennies précédentes est avérée et confirmée par les nombreuses récompenses et prix que l’artiste a reçus tout au long de sa carrière, par example The British School at Rome, The Arts Councils of Great Britain, The Hamlyn Foundation, The Elephant Trust, The Esmée Fairbairn Foundation, The London Arts Board, The Henry Moore Foundation, The British Council, The RSA Art For Architecture, l’Alliance Française, le Conseil Général des Côtes d’Armor, et le Fonds Régional d’Art Contemporain de Bretagne.

Pour plus d’informations sur l’artiste :

Pour tous renseignements sur Papillon de la nuit, contacter :
Domo Baal
M: +0044 (0)7801703871

TEXTE DE MATTHEW REEVES  (traduction Christine Benadretti et Guillaume Lissillour)


Ron Haselden | Papillon de la nuit – Manoir des Guérandes, Brittany, April 2013 – October 2014.


Papillon de la Nuit is one of Ron Haselden’s most ambitious projects in his recent series of sculptures in the rural landscapes of Brittany. In the grounds of the Manoir des Guérandes, two vast planes of coloured woven cord, totalling one hundred metres in length, stretch out as tilted wings, slowly rising to a height of four meters above the ground. Their forms are similar to isometric architectural drawings, that when translated into performative installation serve to manipulate the line of sight and the angles of perspective.

Papillon 3

Sunlight reflects and plays across the predominantly blue surfaces in its passage east to west, shadowed only by clouds and the neighbouring oak and chestnut trees. This is echoed at night by the moon’s own passage, cooling the light that bathes the installation’s vast planes, and providing a pattern for the arc of the Papillon’s wings. Visitors are encouraged to enter through the many criss-crossing grassy pathways below, where the complex supporting structure of mild steel rods encapsulates pockets of vegetation, allowed to grow wild. These provide much interest from the assortment of butterflies, bees and other small animals abundant in the garden’s microcosm of Bretagne wildlife.

Papillon de la Nuit will open for a period of eighteen months from 28th April 2013 as part of ItinéRance, a wider project commissioning and supporting works of art along the river Rance in Brittany.

Papillon maquette

About the artist:

Ron Haselden is one of Britain’s foremost site-specific sculptors, with a career spanning six decades. At the age of seventeen, Haselden was awarded an Andrew Grant scholarship to study sculpture at Edinburgh College of Art from 1961-66. He went on to teach the subject in the Department of Fine Art at Reading University, before founding the mixed media specialism there in the early seventies, and has also tutored extensively at Chelsea and the Slade. Haselden became an active part of the Expanded Cinema movement in the same period. He has since worked prolifically in a variety of innovative materials, from reclaimed shipwrecks and trawlerman’s cord to LEDs and digital circuitry. His recent and ongoing series of large-scale site-specific installations encompass both rural and architectural projects in France (where he now lives) and England. Many of these projects engage closely with local communities or ostracised groups within society, such as Nine Men Drawing, in 2009, which saw the artist collaborate with prisoners at HMP Durham. The project culminated in the translation of the inmates’ drawings into large-scale light-works that were displayed within the cloisters of Durham cathedral during the city-wide festival Lumiere. More recently, the artist has worked with large groups of children from many of London’s schools, turning their drawings into animated light-works that now adorn several sites along the Regents Canal.

Along with artists such as Barry Flanagan and Anthony Caro, Haselden has consistently challenged the orthodoxy of post-Victorian British sculpture since early on in his career. Fundamental to his practice is the move from the plinth to the landscape as the site of display, deriving work from its intended surroundings and refocusing its meaning to include the contingencies of its context. Structure and space are key features of his practice, and subjects he constantly explores by capitalising upon the specific qualities of whichever medium he is working with. His important influence on British sculpture and installation over the past six decades cannot be overstated, and has been acknowledged globally through the many grants and awards the artist has received throughout his career, including from The British School at Rome, The Arts Council of Great Britain, The Hamlyn Foundation, The Elephant Trust, The Esmée Fairbairn Foundation, The London Arts Board, The Henry Moore Foundation, The British Council, The RSA Art for Architecture Award Scheme, Alliance Française, Conseil Général Côtes d’Armor and le Fonds Régional d’Arts Contemporain (FRAC) de Brétagne.

More information on the artist can be found online at: