2016
2016
Literary Translation
2016
Jewellery Design
2016
Children's Theatre supported by the Lionel Bart Foundation
2016
Children's Theatre supported by the Lionel Bart Foundation
2016
Art in the Urban Space supported by the Yoma Sasburg Estate
2016
Producers of Live Music supported by the PRS for Music Foundation
2016
Art in the Urban Space supported by the Yoma Sasburg Estate
2016
Materials Innovation supported by The Clothworkers' Foundation
2016
Producers of Live Music supported by the PRS for Music Foundation
2016
Literary Translation
2016
Children's Theatre supported by the Lionel Bart Foundation
2016
Materials Innovation supported by The Clothworkers' Foundation
2016
Literary Translation
2016
Jewellery Design
2016
Materials Innovation supported by The Clothworkers' Foundation
2016
Art in the Urban Space supported by the Yoma Sasburg Estate
2016
Jewellery Design
2016
Materials Innovation supported by The Clothworkers' Foundation
2016
Children's Theatre supported by the Lionel Bart Foundation
2016
Literary Translation
2016
Producers of Live Music supported by the PRS for Music Foundation
2016
Jewellery Design
2016
Producers of Live Music supported by the PRS for Music Foundation
2016
Art in the Urban Space supported by the Yoma Sasburg Estate

Henry Coleman

Art in the Urban Space supported by the Yoma Sasburg Estate - Shortlisted 2016

Henry’s practice attempts to push into the edges of design which he describes as ‘the outcropping of the prevailing conditions that determine the way we travel through the world’. This invariably brings him to create works that respond to the urban space where architecture and the built environment lead him to propose surreal interjections such as his sculptural installation ‘Scrape’ (referencing the original “anti-scrape” nickname for William Morris’s Society for the Protection of Ancient Building SPAB). In this piece Coleman re-made a set of iconic 1960s signs recently removed from the front of the French Railways House on Piccadilly and re-sited them across the façade of the Royal Academy nearby. This ‘geographical slippage’ as Coleman calls it formed a viscerally surreal appeal to a spatial and architectural memory while the confusion of design and architecture created by the move highlighted the signs’ permanent absence from Piccadilly. In 2015 Coleman staged The Greater Order an exhibition at the Royal Academy where he recently completed his MA. The exhibition involved temporarily blocking the Cast Corridor, the private arterial heart and the iconic image of the Schools, which was absorbed into and cloaked by the marketing materials of the wider Academy; Inhabiting the metaphors of the curtain, the banner and the flag to talk about issues of visibility as a route to commodification and the rights to space. Coleman’s interest in adapting to changed and changing contexts has led to several projects in Latin America, particularly Mexico City where his interest in the late Mexican architect Juan O’Gorman has spearheaded past and future projects.