01. Jim Lambie

Secret Affair (Silver), 2007
Stainless steel
215 x 113 x 8 cm

Secret Affair (Silver) is one of seven keyhole-shaped portals forged from stainless steel and finished in different colours. The work invites viewers to pass through it, and responds to its environment by creating a free-standing doorway or ‘frame’ in space, and by literally reflecting – through its mirrored silver coating – the area in which it stands. In certain lights the keyhole blends into its environment and channels viewers’ attention towards its wider context, whether urban or rural.

Location: St Helen's Square, London EC3V 4QT

02. Lynn Chadwick

Stairs, 1991
Bronze
239 x 160 x 112 cm

Stairs, 1991 is an example of Lynn Chadwick’s unwavering preoccupation throughout his career with human relationships; standing groups, seated, reclining, walking, the spaces between them and the subtlest indications of body language or their ‘attitude’ as he called it.

Location: 99 Bishopsgate, London EC3M 3XD

03. Julian Wild

Deadly Nightshade, 2012
Painted and spray coated stainless steel
530 x 270 x 90 cm

Deadly Nightshade is part of a series of works inspired by perennial plants that are found readily in the British countryside, and applying to them the angular forms and manmade materials of the contemporary cityscape. Deadly Nightshade takes its title from the colloquial name of a poisonous plant. Like a colourful creeper it grows across the surface of a building from a central point. Its acid colours, from deep red transitioning through to dark green, remind us that in nature the most brightly decorated are often the most deadly.

Location: 15 Bishopsgate, London EC2N 3AR

04. Paul Hosking

Flow; Edge; Flux; Within; Fall, 2012 / 2013
St Helen's Courtyard, London EC3A 6AT

The work is pure and elegant with its references to Modernism and Minimalism, but it is neither utopian nor realist. The work is humorous raw, self-deprecating (about structure while hiding its own), and unnerving. It is simultaneously grand, absurd and moving. Using simple line drawings, to create hollow linear sculptures with out a definitive mass.

On first view his sculptures present fascinating independent forms and at the second view well-known schematics, for instance the profiles of faces. Hosking develops his language of forms by the repetitive, varying fusion of Identical motives into one single great shape. In that way he succeeds to place his works exactly at the cutting point of freeform and unconscious recognition in perfect balance.

Location: St Helen's Churchyard, London EC3A 6AT

05. Julian Wild

Salvia, 2012
Powder coated steel
350 x 200 x 180 cm

Salvia is part of a series of works inspired by perennial plants that are found readily in the British countryside, and applying to them the angular forms and man-made materials of the contemporary cityscape. Salvia takes it bright colour from the small flowering plant of the same name, but Wild has chosen not to echo its form. Instead he has welded the lower section of the sculpture into a confusion of bright purple steel from which extends a single polished stainless steel arm reaching towards the open air above.

Location: 1 Undershaft, London EC3A 6HX

06. Peter Randall-Page RA

Shapes in the Clouds, I, IV, V, 2013
Rosso Luana marble
150 cm (diameter each)

For over 30 years Peter Randall-Page’s work has been inspired and informed by a study of natural phenomena. In these new works entitled ‘Shapes in the Clouds I, IV & V’, Randall-Page combines geometric order with geological chaos to produce something both visceral and sensual.

By stacking spheres together systematically he has produced curvaceous variations on three of the five platonic solids. In his words “These fundamental regular forms have been known since antiquity and are the geometric building blocks of our universe.” The highly figured Rosso Luana marble introduces a cloud like and poetic quality in contrast to the structural discipline of the forms themselves.

Location: Bury Court, Londn EC3A 8EX

07. Joāo Onofre

Box Sized Die, featuring Unfathomable Ruination, 2007–2014
Steel, acoustic isolation material
183 x 183 x 183 cm

This was the first time that João Onofre’s work came to London, having toured extensively through Europe at venues including Palais de Tokyo, MACBA and Art Basel. The sculpture takes direct influence from Tony Smith’s pioneering minimalist sculpture Die (1962) having identical dimensions to Smith’s work. While the sculpture’s exterior is identical, within it serves as a mobile location for performance, in which Onofre invites a local Death Metal band to play in each location the sculpture travels to. The Death Metal band Unfathomable Ruination performed on this occasion. The sculpture is hermetically sealed and sound proofed, meaning the duration of the performance is entirely variable, determined by and restricted to the length of time in which the oxygen is expended. From outside the cube, viewers can observe its strange vibrations, while the perspective of the performing band suggests a separate experience of the sculpture. The alternative experiences of the two groups act as a vital part of the performance, in which both groups question and contemplate the other’s experience, directly sharing only the band’s entrance and exit to the performance space. In this way, Onofre animates an apparently inanimate, hard-edged object, making the sculpture a palpable experience – one of entrapment and death, claustrophobia and asphyxiation.

Location: 30 St Mary Axe, London EC3A 8BF

08. Ben Long

Work Scaffolding Sculpture, 2013
Steel and aluminium scaffolding components
500 x 220 x 450 cm

Ben Long’s evolving series of Scaffolding Sculptures examines the value of hard graft associated with manual employment and describes the process of work as a methodical, cumulative endeavour. In a direct reference to Robert Indiana’s iconic artwork Love, Work Scaffolding Sculpture re-assesses the idealistic spirit of the 1960s. Conceived for a time of financial and perhaps emotional austerity, Long’s sculpture serves to reflect life in a rapidly evolving 21st century metropolis. By utilising Indiana’s colour palette and typographic style, Long invites comparison between the two concepts, Love and Work, both essential aspects of daily existence and survival. Yet it is in the stylistic differences between Indiana’s voluptuous form and the skeletal complexity of Long’s riposte that the possible meanings of Work Scaffolding Sculpture may lie.

Location: 30 St Mary Axe, London EC3A 8BF

09. Lynn Chadwick

High Wind IV, 1995
Bronze
175 x 67 x 120 cm

In the late 1970s and early 1980s the movement of material began to capture Lynn Chadwick’s imagination. What had begun as an exploration of drapery over the human form developed into a focus on the effects of wind in a series of works called High Wind. High Wind IV is the last in this series. It explores the physical possibilities of a single female figure, frozen in motion as a gust of wind hits. Her hair is blown over her face, eclipsing her identity and her skirt is propelled forward. The skirt allowed Chadwick to explore curved shapes within his sculptures, with their possibilities of interior volumes and hollows, but it also fulfilled the practical function of support.

Location: 30 St Mary Axe, London EC3A 8BF

10. Nigel Hall

Southern Shade I Southern Shade V, 2012
Bronze, phosphor bronze
250 x 267 x 55 cm; 250 x 240 x 57.8 cm

Time spent in the South of France has resulted in many drawings of the plants of the region, in particular the parasol pines. Despite my work being resolutely non-figurative, throughout my life I have made studies of the natural and man-made world around me. These are made from a simple enjoyment of the forms I come across but are not at the forefront of my mind when engaged in my studio activities. They must, however, be making their presence felt at some subconscious level. For the sculptures that make up the Southern Shade series share with the drawings an involvement with interwoven linear elements, some free in space and others entangled in a shadow interior which echo the shaded canopy of the trees and their complex latticework of branches.

"The various elements that comprise the works are expressed as potentially separate parts implying the possibility of shifting and changing. As with all my sculpture, I attempt to make the works light on their feet, countering the drag of gravity with a visual uplift, just as nature strives to do." – Nigel Hall, March 2014

Location: 51 Lime Street, London EC3M 7NP

11. Nigel Hall

Kiss, 2000
Painted steel
240 x 200 x 110 cm

Kiss is one of a group of three related sculptures (the others being ‘Transformer’ and ‘The Now’), in which the two dissimilar elements, wedge and cone, are brought together to form a visual and physical whole. In the case of the other two works, they are in direct contact and reliant on each other for support. In the case of ‘Kiss’, they are self-sufficient physically but have a strong visual relationship created by the narrow channel of space that separates them. Despite their obvious formal difference, they both contain in their geometry, a volume, a line and a point. Their respective points come into close proximity near the apex of the sculpture.

Location: Fenchurch Avenue, London EC2

12. Richard Wentworth

False Ceiling, 1995
Books, steel cable
Dimensions vary

In the early 1990s I lived for a while in Berlin. The unusual political moment meant that the most extraordinary combinations of objects would turn up in the flea markets. Only a step away from the assorted military cast offs of the cold war there were two groups of objects which were notable for being so numerous – books and plates. I was struck by the quantity of material and the way that things merged. I can remember the day when I turned over a soup bowl which said ‘Rosenthal 1937’ and below which was an elegant transfer of a swastika. It was this kind of collision between one book and another or between high and low dinnerware which started me thinking about the way we read the world and divide things into different typologies. The making of ‘False Ceiling’ a couple of years later was probably provoked by these kinds of peripatetic experience. You don’t always choose what you get to see." – Richard Wentworth, 10th June 2014

Location: Leadenhall Market, London EC3A 6HX

13. Cerith Wyn Evans

Time Here Becomes Space, Space Here Becomes Time, 2004
Neon
Dimensions vary

Cerith Wyn Evan’s conceptual practice incorporates a wide range of media, including installation works, sculptures, photography, film and text.

His frequent deployment of mirror-texts, as with Time here becomes space/Space here becomes time implies both formally and semantically the independent power that language has to construct a reality of its own to rival existing versions.

The texts Cerith Wyn Evans uses in his work, are normally appropriated from literature but here they are his own. The work is one piece the intended installation is to recognise that they are two distinct and separate sentences occupying distinctly particular spaces in relation to each other. They need not be seen at the same time. The two sentences are meant to constitute a speech act, the “call” to each other.

Location Leadenhall Market, London EC3A 6HX

14. Antony Gormley

Parallel Field, 1990
Cast iron
192 x 46 x 35 cm (each)

This is one of Gormley’s first castings in iron and indicates an objectified space, subject to gravity and to atmospheric pressure. These two exclusive, heavy, void, hermetic vessels are a foil to the flow of human bodies on the street.

Location: St Mary Axe, London EC3A