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  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 10.jpg
  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 22.jpg
  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 15.jpg
  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 13.jpg
  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 05.jpg
  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 04.jpg
  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014Guy Bell, 07771 786236, guy@gbphotos.com
    No Place Like Home GBPhotos 14.jpg
  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 09.jpg
  • Raw Edges- A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges ( Shay Alkalay and Yael Mer - a room which expands and contracts - pictured) and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 07.jpg
  • Figure of a Woman in the Carving room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 24.jpg
  • Maquette for Sculpture for Waterloo Bridge - never completed project. Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 19.jpg
  • Curved Form (Delphi) in The quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 16.jpg
  • A view through Corinthos 1954-5  in the quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 15.jpg
  • A view through Corinthos 1954-5  in the quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 14.jpg
  • Curved Form (Trevalgan) in the Pavilion room. Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 11.jpg
  • Garden Sculpture (Model for Meridian), Bronze, 1958 in the Pavilion room. Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 10.jpg
  • Oval Form in The Pavilion room.  Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 05.jpg
  • Pelagos 1946 (C) -Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 03.jpg
  • Pigeon Fanciers Home -A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 02.jpg
  • A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 31.jpg
  • A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured with teh designer), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014.
    No Place Like Home GBPhotos 25.jpg
  • Patternity - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity (Anne Murray and Grace Winteringha, both pictured L to R - room with kaleidoscope - pictured), Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 18.jpg
  • Pigeon Fanciers Home -A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 12.jpg
  • Pigeon Fanciers Home -A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 03.jpg
  • Anika Rice (in the international modernism room)  visits the show in preparation for a programme she will make - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 27.jpg
  • The Carvings room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 21.jpg
  • The Carvings room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 20.jpg
  • Garden Sculpture (Model for Meridian), Bronze, 1958 in the Pavilion room Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 18.jpg
  • A view through Corinthos 1954-5  in the quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 17.jpg
  • The quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 13.jpg
  • Garden Sculpture (Model for Meridian), Bronze, 1958 through Sphere with inner form in The Pavilion room. Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 09.jpg
  • Oval Form in The Pavilion room.  Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 07.jpg
  • Oval Form in The Pavilion room.  Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 06.jpg
  • Pelagos 1946 (C) -Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 04.jpg
  • Pelagos 1946 (C) -Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 02.jpg
  • Patternity - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity (Anne Murray and Grace Winteringham - room with kaleidoscope - pictured), Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 33.jpg
  • Patternity - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity (Anne Murray and Grace Winteringham - room with kaleidoscope - pictured), Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 32.jpg
  • Studio Ilse - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges and Studioilse ((pictured) present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 30.jpg
  • Studio Ilse - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity, Raw Edges and Studioilse ((pictured) present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 29.jpg
  • A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured with teh designer), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014.
    No Place Like Home GBPhotos 24.jpg
  • Patternity - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity (Anne Murray and Grace Winteringha, both pictured L to R - room with kaleidoscope - pictured), Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 19.jpg
  • Pigeon Fanciers Home -A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 11.jpg
  • Patternity - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity (Anne Murray and Grace Winteringham - room with kaleidoscope - pictured), Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 01.jpg
  • The Carvings room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 25.jpg
  • Figure of a Woman in the Carving room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 23.jpg
  • The Carvings room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 22.jpg
  • Sphere with inner form in the pavilion room.  Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 12.jpg
  • Oval Form in The Pavilion room.  Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 08.jpg
  • Patternity - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity (Anne Murray and Grace Winteringham, pictured - room with kaleidoscope - pictured), Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 34.jpg
  • A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured with teh designer), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014.
    No Place Like Home GBPhotos 27.jpg
  • A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured with teh designer), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014.
    No Place Like Home GBPhotos 26.jpg
  • A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured with teh designer), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014.
    No Place Like Home GBPhotos 23.jpg
  • Patternity - A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison, Patternity (Anne Murray and Grace Winteringha, both pictured L to R - room with kaleidoscope - pictured), Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 20.jpg
  • Pigeon Fanciers Home -A Place Called Home’ London design festival Trafalgar Square - brings together four highly acclaimed designers who have been invited to create their own interpretation of home. The four designers, Jasper Morrison (pigeon fanciers room - pictured), Patternity, Raw Edges and Studioilse present a personal vision. The four ‘homes’ appear to be similar in construction from the outside though each will have its own individual exterior identity, hinting at the creative interiors which range from a room which expands and contracts to the home of a pigeon fancier. This is the Landmark project for  the London Design Festival and is in collaboration with Airnb. Trafalgar Square, London UK, 18 Sept 2014
    No Place Like Home GBPhotos 06.jpg
  • Anika Rice (behind Kneeling Figure) visits the show in preparation for a programme she will make - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 26.jpg
  • Pelagos 1946 (C) -Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 01.jpg
  • The race is on with the knock out stage of the heats - Red Bull Air Race World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 24.jpg
  • The plane of Paul Bonhomme (UK, who won) is inspected in the 'pit lane' - World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 09.jpg
  • An old man brings his own chair to sit amongst a sea of daisies and from time to time get some exercise by walking to one edge and back - Clapham Common has begun to return to some form of normality as the effects of the Government easing of restrictions and sunny weather combine to encourage people out - Lambeth Council have now removed the signs and tape that stopped people sitting on benches. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak in London.
    D50_5288.jpg
  • An advan paid for by Lambeth Council drive around the edge of the common - with messages about not sitting on the benches, staying safe and at home, offering support and asking for support for local businesses - Clapham Common is not that busy despite the sun being out and that now people are allowed to sit, if only briefly, on the benches. The 'lockdown' continues for the Coronavirus (Covid 19) outbreak in London.
    GB56223.jpg
  • Henham Park, Suffolk, 18 July 2019. A piano on the edge of teh woods for all to paly - The 2019 Latitude Festival.
    Latitude 19 GBPhotos 012.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 29.jpg
  • TKelly Brook on the On the Edge:The Centre ofr Mental health Garden - he Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • Kelly Brook on the On the Edge:The Centre ofr Mental health Garden - he Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • TKelly Brook on the On the Edge:The Centre ofr Mental health Garden - he Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • TKelly Brook on the On the Edge:The Centre ofr Mental health Garden - he Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • TKelly Brook on the On the Edge:The Centre ofr Mental health Garden - he Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • TKelly Brook on the On the Edge:The Centre ofr Mental health Garden - he Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • TKelly Brook on the On the Edge:The Centre ofr Mental health Garden - he Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • TKelly Brook on the On the Edge:The Centre ofr Mental health Garden - he Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 49.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 47.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 44.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 43.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 41.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 40.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 37.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 39.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 34.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 36.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 35.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 32.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 31.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 33.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 30.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 26.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 25.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 24.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 23.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 22.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 21.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 20.jpg
  • Outside the Treasury on the edge of Parliament Square - Stop Killing Cyclists stage a die-in to remember Anita Szucs, 30 and Karla Roman, 32 (both killed while cycling on Monday), and Ben Wales, 32. They are demanding investment in cycling and walking in the hope that it rises to 10% of the UK transport budget by the end of this parliament. They also point out that air pollution is poisoning millions of people in the UK and road danger means most people do not feel safe cycling on UK roads - meaning they miss out on healthy exercise and compounding a health disaster which the NHS will struggle to afford. They met outside the National Gallery and moved to the Treasury, Horse Guards Parade for protest.
    Stop Killing Cyclists GBPhotos 19.jpg
  • The crowd, of all ages,  looks on,  some in awe - Red Bull Air Race World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 15.jpg
  • The Breitling Wing Walkers do an acrobatic display - Red Bull Air Race World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 26.jpg
  • The crowd waits in the rain - Red Bull Air Race World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 01.jpg
  • Nicolas Ivanoff (Fra) finishes third in the final - Red Bull Air Race World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 34.jpg
  • The runner up in the final was Nigel Lamb (UK) in his Breitling - Red Bull Air Race World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 33.jpg
  • Matthias Dolderer (Ger) finishes fourth in the final - Red Bull Air Race World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 32.jpg
  • Paul Bonhomme (UK) passes the finish line as the winner - Red Bull Air Race World Championships at Ascot Race Course. A combination of high speed, low altitude and extreme manoeuvrability make it only accessible to the 'world's most exceptional pilots'. 12 pilots compete in the Master Class category in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. The objective is to navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. All 12 pilots race with a standardised propulsion package – a high-performance, race-tuned standardised engine (Lycoming Thunderbolt) and standardised propellers (Hartzell 3-bladed). They do have a chooice of 3 single engine/seater aircraft - the Zivko Aeronautic Edge 540, the MXS-R and the Hungarian University of Aviation's Corvus Racer 540 - all cappable of around 230kts and of surviving high G forces, 10+. A new feature of the 2014 Red Bull Air Race World Championship is the debut of the new Challenger Cup, giving a new generation of talented pilots from around the world a chance to race. Entertainement is provided by the Red Arrows and the Breitling Wingwalkers, amongst others.  Ascot Racecourse, High St, Ascot, Berkshire, UK.
    Red Bull Air Race GBPhotos 30.jpg
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