British Museum blog

Documenting the Museum’s changing landscape

Liam O’Connor, artist

'WCEC Excavation' 2012 © Liam O'Connor

‘WCEC Excavation’ 2012 © Liam O’Connor

The World Conservation and Exhibitions Centre, view from Senate House

The World Conservation and Exhibitions Centre, view from Senate House

Over the past four years I have been making work in response to a building site at the British Museum that has now become the World Conservation and Exhibitions Centre.

I see the building site as an island within the city, a territory relinquished in one form waiting to be claimed in/by another.

I have been privileged to explore this transforming landscape and have attempted to describe it, or allow it to describe itself, through the objects and drawings I have made. The work explores the process of imposing order on the landscape and its objects, the end point of which is the completed structure of the building.

Over the course of three and a half years I worked on a single drawing of the site. From a fixed vantage point above the site, I observed the entire transformation of the space from demolition through to excavation and construction. In a weekly ritual I returned to this same view and added to the drawing as new forms emerged on site. Over time this developed into a memoir to the building process. The Museum documented the stages of this drawing through a series of photographs.

For me the most compelling part of the building process was the excavation, which saw the entire site cleared to four stories below street level. I have always been drawn to these huge spaces which temporarily open up in London, into which new buildings are to be placed. They are architectural events in themselves, for a brief moment a huge expanse appears within the densely packed London streets. In response to the epic excavation I made two pieces of work, the first of which was this large, three meter wide drawing, in an attempt to capture the cinematic quality of the spectacle.

Click on any of the thumbnails to view as a full screen slideshow.
All images © Liam O’Connor

The second piece came out of a body of work I had been making on site, for which I collected marks left on surfaces through rubbings, prints and photograms; collecting moments I saw as drawings. The site is continually producing images of itself; dirt, mud, clay and rust are dragged across its surfaces or are themselves surfaces onto which marks can be made. After watching thousands of lorries leave the site filled with clay, I wanted to join the clay on its journey, so I asked if I could sit in one of the lorries to see where it went. I also asked if I could place some boards in the back of the lorry, on which clay could be placed on top to create a drawing which could be reclaimed at the end of the journey, at the rubbish tip. The builders were happy to facilitate my experiments with, as they always were throughout the project. I had been exploring ways of using the materials, processes and tools on site to make drawings, and I saw this piece as a successful outcome of that process as it was made by a telescopic digger, a lorry and a bulldozer.

Click on any of the thumbnails to view as a full screen slideshow.
All images © Liam O’Connor

The final piece of work I made was a modern medal. Philip Attwood, Keeper of the Department of Coins & Medals, introduced me to the Museum’s modern medal collection, and, impressed by these objects, I wanted to make something in response. I was interested in the repetitious activities on the site, such as the picking up and putting down of clay or the construction of steel cages to reinforce the concrete, as the same process seemed to result in a slightly different outcome each time, a unique result. I had also been working a lot with objects taken from the site rather than making my own. With these two ideas in mind, Willie Shaw of Mace, the main contractor, donated a crane lifting chain, and PAD contractors separated the chain into its 800 individual links and stamped each one with a commemorative mark I had designed.

Once the building is complete all these medals will be displayed temporarily and each of the people who have worked on the project will choose a medal from this display, so the piece of work will disperse among everyone who has contributed to the building project.

Every Saturday in June a display of the work I have made will be open to the public. The works have all been tailor-made for the museum cabinets in this secret gallery usually closed off from public view. This room has always been important to me; on one side is the building site and on the other the Museum, for me it became a studio space where the influence of both cultures began to emerge within the work that I made.

See a selection of Liam’s work on display in the WCEC Model room, located off Room 66 on Level 3 of the Museum.
To find out more about Liam O’Connor’s work, visit

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You can now discover thousands of British Museum objects in partnership with @googleartproject at We’ve asked staff members to highlight their favourites and explain what makes them special. Chris Spring, Curator of Africa Collections, describes why he finds the ‘Throne of weapons’ so powerful. ‘This war memorial celebrates the ordinary people of Mozambique, many of them unarmed, who stood up to a culture of violence. It represents both a human tragedy and a human triumph. The Throne's essential humanity is suggested right away by its anthropomorphic qualities - it has arms, legs, a back and most importantly a face - actually two faces. My first reaction was that these faces are crying in pain, though they could also be seen as smiling faces finally freed from conflict. These anthropomorphic qualities also link it immediately to the arts of Africa, in which non-figurative objects such as chairs, stools, weapons, pots etc are seen as - and described as - human beings. The Throne has toured the world, taking its message of peace to schools, churches, shopping centres and even prisons – and of course, to museums and galleries.’ #MuseumOfTheWorld We’re celebrating our partnership with @googleartproject, and have asked curators to tell us about their favourite objects. Hugo Chapman, Keeper of Prints and Drawings, explains why he chose this chalk drawing by Michelangelo. ‘One of the things I love about drawings is the way they sometimes allow a glimpse into the private, behind the scenes world of an artist, one unseen in finished works in paint or stone. An example of that is a red chalk drawing by Michelangelo of grotesque heads in red chalk that reveal that the Florentine Renaissance artist had a lively, if caustic, sense of humour. The three heads were probably drawn to amuse but at the same instruct his pupils, as the three studies show how slight changes can radically alter the reading of an image with the character and mood of each figure (paranoid anxiety; vacuous joy; and depressive gloom) signalled by the position and erectness of their donkey-like ears.  I wish my ears were as expressive.’ Discover many more incredible works of art in the Google Cultural Institute at

#Michelangelo #art To celebrate our partnership with @googleartproject, we’ve asked members of British Museum staff to highlight their favourite objects and explain what makes them special. Jill Cook, Deputy Keeper of Britain, Europe & Prehistory, chose this stone chopping tool from an early human campsite in Olduvai Gorge, Tanzania. ‘Holding this 2 million year old African tool in my hand I am reminded that whatever differences exist between people now, we are united by our common origin in Africa. The discovery of this piece by Louis Leakey in 1931 began to change our understanding of what makes us human. It illustrates the beginning of a transition from an ancestral ape that walked upright on two legs within the confines of a limited ecological niche to humans with more complex brains capable of changing and eventually dominating the world around us by making tools and weapons. This chopping tool is one of the seeds from which all human cultures and societies have grown.’ Discover the stories of thousands of objects in the Google Cultural Institute at

#MuseumOfTheWorld In Victorian England many people were fascinated by their past, and the ancient tribal leader Caratacus (also spelt Caractacus) was adopted as a symbol of national pride and independence. Like Boudica, Caratacus resisted the Roman invasion of Britain. Although he was eventually defeated, he earned a reputation as a noble and worthy foe. The Victorian sculptor J H Foley portrays him here standing triumphant, the embodiment of courageous English spirit. See this incredible #Movember moustache in our #Celts exhibition, until 31 January 2016.
J H Foley (1818–1874), Caractacus. Marble, 1856–1859. On loan from Guildhall Art Gallery/Mansion House, City of London. Some more #Movember inspiration! Here’s the Museum’s security team from 1902 photographed on the front steps. They include officers from the Metropolitan Police, and the London Fire Brigade (identified by their flat caps). We’re celebrating #Movember with Museum moustaches great and small. Here’s a #Movember fact: Peter the Great of Russia introduced a beard tax in 1698 and this token was given as proof of payment!

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