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It's art baby, art!<br />
turn an anonymous space into<br />
a place, which in itself is quite<br />
interesting.<br />
Tell us about your work with<br />
bridges.<br />
I do love a bridge. Symbolically,<br />
it represents bringing two things<br />
together and the metaphor<br />
of unifying is quite attractive.<br />
Bridges are also what fills a gap<br />
in between two spaces and are a<br />
space in and of themselves, and<br />
often, in our urban environment,<br />
the underside of a bridge is quite<br />
a dull place. Using light to change<br />
the perception of that space is<br />
irresistible.<br />
Some years ago, I did a paint and<br />
light installation on the underside<br />
of Bethnal Green Bridge,<br />
commissioned by Bethnal Green<br />
City Challenge, which transformed<br />
the space from something<br />
quite ordinary to a space in<br />
itself. This project led to further<br />
bridge interventions, including a<br />
commission by Olympic Park, ‘One<br />
Whirl’ which has embedded pieces<br />
of recycled glass in the shape of a<br />
swirl on the bridge pavement, and<br />
‘Underwhirl’, which has glass beads<br />
embedded into coloured painted<br />
swirls on the walls and ceiling of an<br />
underpass. The glass reflects the<br />
light and is also quite tactile – you<br />
can feel the beads if you run your<br />
hand along the wall.<br />
What has been one of your more<br />
challenging projects?<br />
‘Hatch’, an installation in the lobby<br />
of Grand Union Studios in West<br />
London is made of small rectangle<br />
‘blades’ of acrylic suspended on<br />
nylon threads from a mirrored<br />
oval in the ceiling. It’s 12m high<br />
by 5m wide. When the sun enters<br />
the building it creates a strong<br />
reaction with the blades with<br />
oblongs of reflected and refracted<br />
light spinning around the lobby<br />
walls and out into the street<br />
in front. Each blade had to be<br />
hung individually, and as you can<br />
imagine, the thin nylon threads had<br />
a tendency to intermingle where<br />
they shouldn’t, and untangling<br />
them caused much frustration!<br />
What are you up to now?<br />
At the moment I’m mainly painting<br />
and drawing, and making things to<br />
commission. The medium of paint<br />
tells a different sort of story, yet<br />
light is always featured in my work<br />
in some form or another.<br />
Any advice for young artists?<br />
There is no straightforward path to<br />
‘success’; life takes many turns, so<br />
be open to that. Don’t fret about<br />
exam results – no one cares! In the<br />
creative world it’s all about your<br />
ideas. Always carry a notebook,<br />
read widely, look carefully and<br />
be interested in the world around<br />
you. Build networks with fellow<br />
students and artists and collaborate<br />
with others, including those in<br />
other fields. It’s a rich vein to tap<br />
into and you’d be surprised at the<br />
opportunities it can present.<br />
Images, clockwise from facing page:<br />
1. Float, permanent installation, Canary Wharf,<br />
London<br />
2. We Could Meet, permanent installation,<br />
Canary Wharf, London<br />
3. Ladder, Hackney Wicked and private<br />
collections<br />
4. Shimmer Field, permanent installation, San<br />
Antonio, Texas, USA<br />
5. Underwhirl, permanent installation, Olympic<br />
Park, London<br />
6. Bethnal Green Bridge, London<br />
7. Beacon, permanent installation, Bristol<br />
TO FIND OUT MORE<br />
To commission Martin contact him via<br />
his website.<br />
martinrichman.com<br />
Insta: @smartinthewick<br />
LOVEEAST Sept/Oct 2019 19