Jeff Lowe: Object Lessons at Pangolin London

Pangolin London is one of the two galleries at Kings Place and is the one that I pass every time that I go in or out of the building. It has a prominent position at the front of the building and with its large windows it gives me a nice shot of art as I go past.

Of course I go in sometimes too and this tends to be during the day when events at work make a more intense shot of art a welcome boost. I visit the larger Piano Nobile Kings Place gallery on the lower ground floor for the same reason but their exhibitions are on for longer and so going there repeatedly gives diminishing returns.

And that is why I was in Pangolin London on this Friday afternoon. It was a bad day in the office and I had already decided that this shot of art would need to be followed by further shots of coffee and cake from Green & Fortune Cafe.

The current exhibition Jeff Lowe: Object Lessons had a mix of objects that could be broadly categorised as lines, blocks or lines and blocks.

The big pieces, like the one below, were all about lines and the joins between them. This piece looks like a pile of bent tubing that was found somewhere and welded together almost randomly whereas the similar sized piece on the floor next to it looked more like a large wire basket with thinner pieces of metal and everything in parallel straight lines.

There were several smaller pieces made of layers of metal welded together to make rectangular blocks which could have been models for modern buildings. But it was the large block piece that demanded attention as it filled most of the wall at the far end.

This single piece consisted of 36 cast iron plates arranged in a 3 x 12 grid that measured approximately 1m by 5m.

The designs on each plate reminded me of hieroglyphics but that was probably because I was going to see Akhnaten that evening. A closer inspection of the shapes suggests that at least some of them represent countries or territories, if you look at them upside down then the one in the middle appears to be North America and the one diagonally up and left from it is Africa.

This was my favourite piece because of the visual impact that it had from a distance and the images on the individual plates that drew me towards it.

The lines and blocks came together with a series of woodblocks. The structural lines from the metal work were repeated and the colouring of the spaces between them repeated the blocks.

I liked these too because I almost always like modern art that consists of simple shapes and a few colours.

Pangolin London is quite a small gallery which makes it ideal for a quick visit and there is always enough interesting stuff in there to make it a rewarding visit.

Merete Rasmussen exhibition at Pangolin London

The Pangolin London gallery is by the entrance on the ground floor of Kings Place, which also happens to be the building that my office is in so I walk past in four times a day.

The large windows along the pavement (York Way) mean that I can see the exhibitions without having to go in. This is my (lame) excuse for not going in more often which is my error as I like art galleries even if sculpture is not my favourite forms.

I went in this time for less than artistic reasons. I was having a bad day at work, I do not respond well to micro-management, and wanted a short break. I had been to the exhibition in the Kings Place Gallery on the lower floors a few times so I went to Pangolin London instead. And I was glad that I did.

When looking at the sculptures on my way in and out of the building I had assumed that they were made from metal so I was surprised to learn that most of them were ceramic. Impressed by the technique I asked one of the helpful staff there about it and she explained to me how they were made. It was a complicated process and it included two layers of clay, one to form the shape and the second to hold the colour.

There were limits to the size of the kiln that restricted the size of the pieces and the largest piece, the red one at the top, was made of metal, so I was partially right after all. There were a few smaller metal pieces, similar in style to the twisted ceramics but with several stands rather than a single sheet and the blue piece in the top right corner is an example of this.

I found them interesting but more for the techniques and skills used to manufacture them than their artistic merit (art is an intensely personal thing).

My favourite piece, Morphogenesis - commissioned for this exhibition, is not pictured and was quite different. It looked something like packaging for tennis balls and it changed colour, from black to blue, and became less formal along its length. This was another ceramic work and had been made from three separate pieces because of its size and these were deliberately hung with a small gap between them to show how they were constructed.

Sculpture may not be my thing but my ten minutes or so walking around this small gallery a few times certainly perked me up and prepared me for the final session in the office.

Sculpture in the Home at Pangolin London

The best thing about working at Kings Place is the art. There are modern statues on the two sides facing the canal, a large gallery on level -1 that often spills over to level -2 and there is Pangolin London too.

Pangolin London is the little gallery on the York Road side that lies between The Guardian and the main entrance to the arts complex and the offices. Because of its street-side location it is a gallery that I have looked in to many times but have only popped into a couple of times.

The current exhibition, Sculptures in the Home, was so striking that I had to go in and have a closer and longer look.

Sculpture in the Home was inspired by exhibitions with the same name from the 40's and 50's. It had a rich feast of sculptures and a nice topping of a few pictures displayed in three period rooms.

Everything about it was brilliantly conceived and executed.

The rooms were as lovely as anything in the Geffrye Museum and it was worth going just to see the two Wingback Armchairs in Sanderson Festival fabric. The furniture and furnishings were part of the exhibition and were included in the catalogue. The chairs that I loved were a tempting £3,000 each.

I would have been quite satisfied if that was all that the exhibition consisted of but there was more to it than that. The real point of the rooms was to show off the works of art.

Discretely sprinkled across the room were 32 sculptures and 21 prints. They were placed so naturally that it was hard to find all of them.

The sculptures were by people like Lynn Chadwick and Elisabeth Frink who even I had heard of.

I would have loved to take all three rooms home with me just as they were but I was about £1m short of the asking price so I had to be content with just looking and dreaming.