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 liamoconnor.co.uk

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Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design
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