THE RIVER HAS NO COLOUR
Colour and light study
Acrylic on pine wood off-cuts, plywood
Top 550x160mm
Left 254x190mm
Right 370x230mm
CHRISTIE'S CURATES: PAST PERFECT / FUTURE PRESENT
Christie's London
Curators – Alina Brezhneva, Bianca Chu, Milo Dickinson, and Tancredi Massimo di Roccasecca
Exhibition design Ingrid Hu
Graphics and Digital design Christie’s Creative Studio
Structural Engineer TALL Consulting Engineers
Fabricator and installer Qwerk
Graphics contractor L&S Reprographics
June 2015
Past Perfect / Future Present was an exhibition at Christie’s King Street, London, that juxtaposed art across all ages and from different parts of the globe, together with cutting-edge and new media works by four emerging artists: Armand Boua, James Balmforth, Olga Chernysheva and Harry Sanderson. Curated by four young curators, the brief for the exhibition design was to change the perception of Christie’s and to transform the listed building temporarily to attract a younger audience. A bold proposal was put forward to use scaffolding to display Old Master art works. The structure was designed to allow visitors to see various owners’ markings at the back of paintings, whilst providing a new setting to appreciate the artworks on display. Arranged across 6 themed galleries, the exhibition included a masterpiece of Baroque portraiture by Rubens, Lawrence of Arabia’s own dagger, components of a working Spitfire airplane, as well as pieces by modern masters including Henry Moore, LS Lowry and Sigmar Polke.
ZERAFFA GIRAFFA
An Omnibus Theatre and Little Angel Theatre co-production
A play by Sabrina Mahfouz
Based on the book by Dianne Hofmeyr and illustrated by Jane Ray
Director – Elgiva Field
Puppets and Puppetry – Matthew Hutchinson
Set and Costume Designer – Ingrid Hu
Composer – Candida Caldicot
Lighting Designer – Oscar Wyatt
Sound Designer – Jon McCleod
Cast – Ashton Owen, Andre Refig, Nadia Shash
Photography by Ellie Kurttz
21 September – 4 November, 2017 Little Angel Theatre, London
25 Nov – 17 Dec, 2017 Omnibus Theatre, London
Production for Young People aged 0-7
Based on the book by award-winning children’s author Dianne Hofmeyr, Zeraffa Giraffa is inspired by the true tale of a giraffe and its keeper Atir. Sent as a diplomatic gift from the Great Pasha of Egypt to the King of France in the 1820s, the story follows the various stages of the epic trip taken by these two companions. The pair are thrown through terrifying storms and encounter all sorts of nerve jangling creatures – and not to mention locals – before they arrive in France where no one has seen an animal like Zeraffa before.
Working in close collaboration with the creative team, the design of the stage and costumes evolved from ideas based around children’s perception of the visual world. Objects, scenery and costumes transform with and by the puppets and performers in unexpected and imaginative ways.
★★★★★ “a delightful production” Theatre Bubble
★★★★ “This is such a creative production with spellbinding surprises galore for the little ones, not to mention the wonderfully mature themes of difference and friendship”
Everything Theatre
★★★★ “interesting insights for all ages to ponder on”
London Theatre 1
Light / Dark
SU-EN Butoh Company, Uppsala Concert and Congress studio, Sweden
Installation performance
Filament LED light bulbs, cables, paper
Choreography - SU-EN
Light installation - Ingrid Hu
Music - Mikael Stavöstrand
Performers - Madeleine Holmund, Heiko Klandt
Photography by Ingrid Hu
We perceive light because we experience darkness. It is never just one or the other.
For over a century, we live as if we no longer rely on daylight. It is a paradox of wanting both. Artificial light presents a physiological dilemma, and more so in a place like Sweden where duration of daylight varies from one extremity to the other.
The installation is a response to this constant power negotiation between light and dark, seen and unseen. An artificial topography of light that evolves and adapts around our changing body. At the centre, a luminous element remains constant, reminding us the physical reality that dictates our natural world. This topography illuminates, in total darkness, and in our mind.
Invited by SU-EN, the collaboration started with a research and development period around light as a material. Using commonly available domestic light bulbs, the process involved dipping light bulbs in paint to reveal the glowing filament and making the glass to be its own light shade.
Produced by SU-EN Butoh Company and Uppsala Konsert & Kongress, Sweden
CHORUS I, II, III
Acylic, insect pins, balsa
25.2 x 35.2 x 7cm
2017
A triptych of synaesthetic impressions of an evening at a Russian choir performance.
The attempt to relive the experience led to the experimentation of a method of making that would allow me to transcribe the vocal performance visually. As someone who is involved in the creation of a performance, the reinterpretation of one art form – in this instance singing – to another, opens up a new way of creating work. Materiality and colour play an important role in my work, but I am drawn to the simplicity of using one material, in monochrome, to focus on the sense of volume and space that I experienced.
Photography by James Whitaker
