Following latest government advice and upon close consideration, with regret we have taken the decision to postpone Lucy McKenzie’s new artwork, Pleasure’s Inaccuracies due to launch on 2 April 2020. We look forward to bringing this work to London and will confirm a new launch date when we can.
Art on the Underground present a large-scale public commission of permanent and temporary artworks by Scottish-born, Belgium-based artist Lucy McKenzie, titled Pleasure’s Inaccuracies.
McKenzie is fascinated by the decoration of public spaces such as train stations, and her work frequently combines source material from the realms of historical design, advertising and architecture. For what is her most ambitious public commission to date, she chose Sudbury Town Tube station, a historic, listed building designed by Charles Holden in 1931, for its location and architecture. Situated outside of central London, with a cavernous central hall, original features and waiting rooms on each platform, the station is evocative of another era.
By respecting Sudbury Town’s original design, McKenzie’s commission reflects the present through the aesthetics of the past. The commission comprises a number of elements: two permanent hand-painted ceiling murals featuring maps of the local area; a highly detailed architectural model of the station which will remain on permanent display; two large billboards installed on each platform; and silk screen posters displayed within the station which will be on display until April 2021.
The permanent ceiling murals in each waiting room will feature maps of the immediate surrounding areas, highlighting local landmarks from the past and present. The detailed works incorporate the existing ceiling lights in a design which echoes the original Modernist lamps on the platforms. Maps are a recurrent feature in McKenzie’s practice – an art form obliged to express data, connected to a specific time and place and combining reality with the imaginative. For her ceiling murals, McKenzie studied the extensive historical advertising material in the Transport for London archives and has referenced the work of Herry Perry (Harriet Perry) and RP Gossop. This interest is also reflected in two large billboards situated on each platform and a series of two silk screen posters installed on a heritage kiosk within the station.
In exploring the archives, McKenzie has furthered her extensive research into advertisements from the inter-war period, a vibrant time for design before photography replaced illustration. The billboards will resemble advertising in form style but are vastly enlarged reproductions of sketches, full of imperfect texture and materiality. From a distance they can be read as adverts for ambiguous products but closer inspection will reveal their handcrafted process. By using optical illusion on each billboard, McKenzie extends them into their direct surroundings and roots them in their location. The scale of the detailed architectural model of the station, which will feature McKenzie’s newly commissioned artworks in perfect miniature, will also make the viewer aware of their physical presence and Sudbury Town’s specific environment.