wish to make with your instalments
or is it aesthetics based?
LR: The only real statement which I
make, by putting theses slides out
there is, ‘I think these objects and
what they depict are interesting,
perhaps you will too’. I spoke to a
friend who has a background in
intervention theatre who identified
with the project and compared it
to a message in a bottle – you do
not know who the audience will
really be, if they will pick it up,
read it or care, but they might and
if 1/10 of my slides gets noticed
and impacts on someone’s day
and makes them think or smile
then that is great. I stick them on
with cellotape so that if someone
likes one they could easily take it
home with them and also so they
are not a headache for the TFL
cleaners.
Lightbox for London #39. 221 Bus.
Photograph courtesy of Laurence Rundell, 2013.
Anthony Caro I find myself
clocking it in the same way I would
clock a post-box – I am aware of
what it is and what it stands for,
but it has little impact on my
day/life. However, works such as
Rachel Whiteread’s house, Roger
Hiorns’ Seizure and Peter
Eisenman and Buro Happold’s
Holocaust Memorial in Berlin all
had a significant impact on my
ways of thinking and are truly
excellent works.
BRLG: What is your take on the
role of public art has in the
community? Should it be
aesthetics or principles based?
LR: When it is done well it can be
an excellent addition to a city or
environment. The two can and
should come together healthily.
Personally some sculpture does
nothing for me so when I see a
work by Barbra Hepworth or
Look out for Laurence’s work
around London and keep up to
date with Light Box for London at
lightboxforlondon.tumblr.com and
Instagram: @instalarry53.
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