Barbican Revisited

06.05 – 28.05.2022 barbican library

Personal interpretations of the Barbican come to life as five artists explore the meaning of an iconic place of history, where lives are played out and culture converges.

The artists met at Central Saint Martins while doing post-graduate studies in glass and in 2011 they formed the group Lumini Glass. While glass is still part of their practice, the approaches they have taken to the exhibition at the Barbican reflect a wider engagement with materials and concepts.

Artists: Maria Beddoes, Jennifer Brown, Pippa Davismoon, Charlotte Morrison, Jenny Sharp

Glass / Ceramics / Textiles / Photography / Painting / Text

Fri 06 – Sat 28 May 2022 (During Library Hours)

Barbican Library
Barbican Centre, EC2Y 8DS

Artists will be present at the Library on Saturdays Please contact individual artists for more information

Private View: Wed 11 May, 6.30PM Free tickets available at Eventbrite

The Artists

Jennifer Brown

Instagram: @wren_glass

Jenny has been inspired by the architectural drama and natural sympathy of the Barbican. The futuristic architects’ blueprint is
a living dream, the design itself now an artefact of the past. She has been particularly struck by the architects’ inspiration of both Venetian and Mediterranean influences.

Concentrating on the textural qualities of this inner-city zone, Jenny is making a series of images and glass objects. Using layered imagery, she will be producing objects for the present underpinned by the lineage and historical aesthetic. The aim of these works is to pay homage to this great edifice of design achievement.

Barbican Reflections Bowl

Maria Beddoes

Instagram: @mariabeddoesart

Maria has a fascination with the seductiveness of materials and the dialogue between their tactile and visual qualities.
By experimenting with concrete forms and ideas of secular iconography she celebrates personal relationships and everyday experiences. “By responding to the Barbicans architectural language, I recall my own memories of spending time here. I am interested in how the Brutalist architecture can trigger forgotten memories and experiences. Inspired by the spaces and shapes of the buildings, I am exploring forms which evoke and memorialise past events, capturing glimpses of personal histories”.

Jenny Sharp

Instagram: @blkdogglass

Having always known the Barbican and a love of the solid, Brutalist architecture Jenny has been drawn to the abundant forms and textures.

From her extensive personal photographs of the complex, she is concentrating on the tower block balconies. Jenny is looking closely at the form and texture of the weather staining on the balconies.

Using and zooming into two of these images, she is using this for printing on glass alongside making shapes for fusing glass. At the same time, she has made a body of textile work with the same imagery.

Pippa Davismoon

Instagram @pippadavismoon

The Barbican is a good place to listen. People go there to listen; they listen to music, spoken word and to each other. Inspired by this, Pippa created large and small sculptural groups of objects varying form and surface treatment. Stimulated by observing the concrete surface of this iconic building, she has treated the surface of the porcelain Listening Vessels in various ways, enriching ideas of what it means to listen. The mono prints of the vessels ‘in con- versation’ offer further ways of understanding how we listen.

The Barbicana Platter’s shape originated directly from seeing the open sided shapes of the Barbican building on Silk Street that are passed so often when walking from Liverpool Street Station to the centre. The shape is also a nod to the barrel vaulted roof. Having seen the multitude of experimental concrete panels hidden away behind the main stage viewed on a tour of the Barbican, she experimented with many layerings of kiln formed glass at various temperatures and frit concentrations to achieve, eventually, a rough and a smooth platter.

Charlotte Morrison

Instagram: @charlotteartworld

Charlotte captures the essence of the Barbican in compositions of shape, form and colour.

Her collection of ceramic objects echoes architectural consider- ations. The ceramics are interspersed with text pieces that allude to human responses and activities across time. As objects meet words we are confronted with numerous perceptions of place.

The composition of ceramics and text was inspired by photo- graphs taken of the Barbican during one of their architectural tours. Some of her photographs and poetry appear in book form in “An Ode to the Barbican”.