Giles Round has created an architectural installation within the Atrium of the historic Lantern building.
Round says: “The artwork is integrated into the architecture of the Lantern space. My desire from the beginning was to embed the work into the fabric of the building.
“Following research into the history of the building and the extraordinary architecture of Bristol, specifically the Bristol Byzantine, the design references the polychromatic decoration used on the façade. It is in part a portrait of the building itself.”
Giles Round (b. London) is an artist currently living in St Leonards-on-Sea with more-than-human companion Philip Seymour Hoffman Round. Following a year spent in an imaginary relationship with late artist Félix González-Torres, Round fled London during the mass exodus. Round works across disciplines – including art, design and architecture – through a wide range of techniques and approaches. Often taking the form of long-term, open-ended projects in which exhibitions themselves become the medium, Round’s works have at times produced organisations and companies as artworks. Through these, the artist creates conceptual frameworks to interrogate the role of the artist as an agent of transformation. For example, Round’s ongoing work, The Art Direction of the Noguchi Museum (2018–) is an enquiry into the role an artist might play as an embedded part of institutional and design teams, but also of society’s infrastructures and organisations at large.
Recent permanent works include interiors for the Psychological and Mental Health Services Unit for Great Ormond Street Hospital (2024) and Time passes & still I think of you (for Margaret Round) (2023) for Brent Cross West mainline train station. His previous commissions include: The Grantchester Pottery, The Moorings Underpass, Thamesmead, (2020); Foyer Curtain for Queen Elizabeth Hall, Southbank Centre (2018); Design Work Leisure, Art on the Underground, permanent works realised at Blackhorse Road, Victoria and Vauxhall London Underground Stations, London (2015–)
Round says: “The artwork is integrated into the architecture of the Lantern space. My desire from the beginning was to embed the work into the fabric of the building.
“Following research into the history of the building and the extraordinary architecture of Bristol, specifically the Bristol Byzantine, the design references the polychromatic decoration used on the façade. It is in part a portrait of the building itself.”
Giles Round (b. London) is an artist currently living in St Leonards-on-Sea with more-than-human companion Philip Seymour Hoffman Round. Following a year spent in an imaginary relationship with late artist Félix González-Torres, Round fled London during the mass exodus. Round works across disciplines – including art, design and architecture – through a wide range of techniques and approaches. Often taking the form of long-term, open-ended projects in which exhibitions themselves become the medium, Round’s works have at times produced organisations and companies as artworks. Through these, the artist creates conceptual frameworks to interrogate the role of the artist as an agent of transformation. For example, Round’s ongoing work, The Art Direction of the Noguchi Museum (2018–) is an enquiry into the role an artist might play as an embedded part of institutional and design teams, but also of society’s infrastructures and organisations at large.
Recent permanent works include interiors for the Psychological and Mental Health Services Unit for Great Ormond Street Hospital (2024) and Time passes & still I think of you (for Margaret Round) (2023) for Brent Cross West mainline train station. His previous commissions include: The Grantchester Pottery, The Moorings Underpass, Thamesmead, (2020); Foyer Curtain for Queen Elizabeth Hall, Southbank Centre (2018); Design Work Leisure, Art on the Underground, permanent works realised at Blackhorse Road, Victoria and Vauxhall London Underground Stations, London (2015–)
The reticence of warehouses and the opulence of banks. An interior after the Byzantine-influenced Italian Gothic manner of the Bristol Byzantine. St Bees sandstone, polished plaster, glazed tiles, terrazzo, carpet. 2023 Photo:Jamie Woodley
The reticence of warehouses and the opulence of banks. An interior after the Byzantine-influenced Italian Gothic manner of the Bristol Byzantine. (detail) St Bees sandstone, polished plaster, glazed tiles, terrazzo, carpet. 2023 Photo:Jamie Woodley
The reticence of warehouses and the opulence of banks. An interior after the Byzantine-influenced Italian Gothic manner of the Bristol Byzantine. (detail) St Bees sandstone, polished plaster, glazed tiles, terrazzo, carpet. 2023 Photo:Jamie Woodley
The reticence of warehouses and the opulence of banks. An interior after the Byzantine-influenced Italian Gothic manner of the Bristol Byzantine. (detail) St Bees sandstone, polished plaster, glazed tiles, terrazzo, carpet. 2023 Photo:Jamie Woodley
The reticence of warehouses and the opulence of banks. An interior after the Byzantine-influenced Italian Gothic manner of the Bristol Byzantine. (detail) St Bees sandstone, polished plaster, glazed tiles, terrazzo, carpet. 2023 Photo:Jamie Woodley
Giles Round Portrait 2023
The Moorings Underpass, Thamesmead, 2020, The Grantchester Pottery with Light Follows Behaviour
Design, Work, Leisure, Art on the Underground, 2015
Time Passes & still I think of you (for Margaret Round) 2023
PAMHS Unit, Great Ormond Street Hospital, 2024| > |
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