David Batchelor’s vibrant ‘Evergreen’ ensures light and colour, even on the darkest winter day, sited within a cluster of real trees, it shines out like a playful beacon inviting visitors into discover and explore the More London Estate. As the neighbouring trees change throughout the seasons, losing and re-growing foliage, ‘Evergreen’ remains a permanently illuminated, never changing its dynamic spring green colour at the top of its highly polished stainless steel trunk, that complements the surrounding glass and steel architecture of the More London buildings.
Stephen Balkenhol’s poignant and powerful ‘Couple’ is located above eye-line and prompts the viewer to look up and see the individual sculptures of a man and a woman, set apart but so clearly a couple. The sculptor works almost exclusively in wood, working with speed and retaining the chisel marks. Once the carving was completed, he painted each figure with a simple and economic range of colours to highlight facial features and clothing. The male sculpture is dressed in a white shirt and black trousers, reflecting the clothing so many office workers wear, and is placed on its own tall plinth, while the female figure is a short distance away on the same eye level, positioned on a low roof.
Fiona Banner’s glistening black and bold ‘Full Stop’ sculptures are positioned around the spacious public plaza on the More London riverfront with Tower Bridge as a contrasting backdrop. Each sculpture invites close inspection and the five separate Full Stops have become a major draw to visitors with their particularly tactile surfaces. Each form is an accurate 3D, vastly enlarged version of a full stop from a variety of commonly used typefaces, which lend their names and titles for each sculpture – ‘Slipstream’, ‘Optical’, ‘Courier’, ‘Klang’ and ‘Nuptail’ - all cast in bronze and coated in shiny black paint, the same appropriately as that of London Taxis, giving a highly reflective surface that mirrors the surrounding buildings and reflects light and water.