News Release from Steven Holl Architects
A new piece by the Turner Prize
winning artist Martin Boyce is to be the feature artwork in the entrance to the
new Reid Building at The Glasgow School of Art it was revealed today 15 January
2014.
winning artist Martin Boyce is to be the feature artwork in the entrance to the
new Reid Building at The Glasgow School of Art it was revealed today 15 January
2014.
|
| Installing the artwork |
|
| Martin Boyce outside the Reid Building |
Steven
Holl Architects’ design for the new building at the GSA envisaged a glass
artwork integrated into the double height entrance that would echo Charles
Rennie Mackintosh’s use of glass in the original 1910 Art School. The design
team approached the artist to make a signature piece for the Reid Building that
would be an embodiment of the fusion of art and
architecture.
“Marking the entrance of our new building at
the Glasgow School of Art is a flourish of coloured glass catching and
projecting washes of coloured light by Martin Boyce,” says Steven Holl. “We see this colour in positive contrast to the original colours of
Mackintosh and an inspiration to students and the community.”
the Glasgow School of Art is a flourish of coloured glass catching and
projecting washes of coloured light by Martin Boyce,” says Steven Holl. “We see this colour in positive contrast to the original colours of
Mackintosh and an inspiration to students and the community.”
Boyce’s work takes the form of a 4.3m x 8.9m hanging screen of
steel and glass geometric vines. Nineteen steel frames are suspended vertically from the ceiling at fixed points. Each
vertical line sprouts a number of horizontal branches which support 122 glass ‘leaves’.
There are four different sizes of glass leaf in seven different colours. The layering
of the coloured glass and steel vines across the width of the glazed area above
the main entrance produces a complex array of pattern and colour.
steel and glass geometric vines. Nineteen steel frames are suspended vertically from the ceiling at fixed points. Each
vertical line sprouts a number of horizontal branches which support 122 glass ‘leaves’.
There are four different sizes of glass leaf in seven different colours. The layering
of the coloured glass and steel vines across the width of the glazed area above
the main entrance produces a complex array of pattern and colour.
The
colour pallet of the glass panels emerged from research by the Reid Building
design team into the stained glass in the Mackintosh building. The colours were
then processed and their complementary colours were found. The greens and
autumnal browns and oranges fed into the development of the piece furthering
the relationship between abstract and natural forms.
colour pallet of the glass panels emerged from research by the Reid Building
design team into the stained glass in the Mackintosh building. The colours were
then processed and their complementary colours were found. The greens and
autumnal browns and oranges fed into the development of the piece furthering
the relationship between abstract and natural forms.
From
the Mackintosh’s building exterior to the finest details found in a door handle
or light fitting the marriage of nature and design is expressed. This chain of
relationships and details, from macro to micro and back again has had a
profound influence on Martin Boyce’s working practice. It is in the history of
such working methodologies that this new work acknowledges Mackintosh while
simultaneously looking forward with the architecture of the Reid Building.
the Mackintosh’s building exterior to the finest details found in a door handle
or light fitting the marriage of nature and design is expressed. This chain of
relationships and details, from macro to micro and back again has had a
profound influence on Martin Boyce’s working practice. It is in the history of
such working methodologies that this new work acknowledges Mackintosh while
simultaneously looking forward with the architecture of the Reid Building.
“We are
delighted that Steven Holl Architects should have selected one of our alumni to
create the signature artwork for the Reid Building design,” says Professor
Tom Inns, Director of The Glasgow School of Art. “Architecture and nature are two major themes in Martin’s
practice and these are brought together seamlessly in this beautiful new
work.”
delighted that Steven Holl Architects should have selected one of our alumni to
create the signature artwork for the Reid Building design,” says Professor
Tom Inns, Director of The Glasgow School of Art. “Architecture and nature are two major themes in Martin’s
practice and these are brought together seamlessly in this beautiful new
work.”
Manufacture of the artwork has been made possible with a Production
&
Presentation grant
from Creative Scotland.
&
Presentation grant
from Creative Scotland.
Ends
For further information
contact:
contact:
Julia
van den Hout, Steven Holl Architects
van den Hout, Steven Holl Architects
+1
212 629 7262 x20
212 629 7262 x20
Or
Lesley Booth, The Glasgow School of Art
Lesley Booth, The Glasgow School of Art
+44 (0)779 941 4474
Notes for Editors
· The
Reid Building, a £50m project which replaces two buildings (the Foulis and the
Newbery Tower) that were no longer fit for purpose, is Phase 1 of The Glasgow
School of Art’s Garnethill Campus redevelopment. It provides accommodation for
Design School departments as well as administrative offices, workshops, a
lecture theatre and seminar rooms, gallery spaces, the GSA Refectory and the
new GSA visitor centre: Window on Mackintosh. The development also includes a
refurbished GSA student union. The Reid Building will be opened officially on
Wednesday 9 April 2014.
Reid Building, a £50m project which replaces two buildings (the Foulis and the
Newbery Tower) that were no longer fit for purpose, is Phase 1 of The Glasgow
School of Art’s Garnethill Campus redevelopment. It provides accommodation for
Design School departments as well as administrative offices, workshops, a
lecture theatre and seminar rooms, gallery spaces, the GSA Refectory and the
new GSA visitor centre: Window on Mackintosh. The development also includes a
refurbished GSA student union. The Reid Building will be opened officially on
Wednesday 9 April 2014.
·
Martin Boyce graduated with a BA in Environmental Art
at The Glasgow School of Art in 1990 and went on to gain an MFA from The
Glasgow School of Art in 1997. He also studied at California Institue for the
Arts. Significant solo exhibitions of his work include ‘It’s Over / and Over’,
Tanya Bonakdar Gallery, New York (2013); ‘night terrace – lantern chains –
forgotten seas – sky’, The Modern Institute, Glasgow (2011; ‘Electric Trees and
Telephone Booth Conversations’, FRAC des Pays de la Loire, Carquefou (2007);
and ‘For 1959 Capital Avenue’, Museum für Moderne Kunst, Frankfurt (2002).
Boyce’s work has been included in numerous international exhibitions, including
‘Modern British Sculpture’, Royal Academy of Arts, London (2011); ‘We Burn, We
Shiver’, SculptureCenter, New York (2008); and ‘The Third Mind’, Palais de
Tokyo, Paris (2007). Boyce represented Scotland at the 53rd Venice Biennale
with ‘No Reflections” and in 2011, he won the coveted Turner Prize for his
installation Do Words Have Voices. For full CV visit:
http://www.themoderninstitute.com/artists/3/bio?style=print
Martin Boyce graduated with a BA in Environmental Art
at The Glasgow School of Art in 1990 and went on to gain an MFA from The
Glasgow School of Art in 1997. He also studied at California Institue for the
Arts. Significant solo exhibitions of his work include ‘It’s Over / and Over’,
Tanya Bonakdar Gallery, New York (2013); ‘night terrace – lantern chains –
forgotten seas – sky’, The Modern Institute, Glasgow (2011; ‘Electric Trees and
Telephone Booth Conversations’, FRAC des Pays de la Loire, Carquefou (2007);
and ‘For 1959 Capital Avenue’, Museum für Moderne Kunst, Frankfurt (2002).
Boyce’s work has been included in numerous international exhibitions, including
‘Modern British Sculpture’, Royal Academy of Arts, London (2011); ‘We Burn, We
Shiver’, SculptureCenter, New York (2008); and ‘The Third Mind’, Palais de
Tokyo, Paris (2007). Boyce represented Scotland at the 53rd Venice Biennale
with ‘No Reflections” and in 2011, he won the coveted Turner Prize for his
installation Do Words Have Voices. For full CV visit:
http://www.themoderninstitute.com/artists/3/bio?style=print