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Metal bed with paper sculpture and wire


For the past 30 years I have been working in paper to create my images and forms. A challenging medium, its attraction for me is taking something unremarkable, flat and every-day, and with a simple cut or fold, transforming it into something three dimensional and beautiful.


My work is predominantly photographed and used as illustrations as there is often an underlying message or narrative in each piece. In creating this art piece for the campaign to end bed blocking, paper seemed the perfect medium to use as a metaphor for the paperwork and bureaucracy that slow the process of being discharged from hospital. Going home after recovery from illness should be a positive experience with as little entanglement as possible, yet we hear too often of people being trapped in their hospital beds with nowhere to go. “Bed Of Roses” tries to positively reflect those thoughts. It is a play on the expression ‘bed of roses’ used convey a happy, carefree life. Larger-than-life paper sculpture roses ramble through the metal structure of a bed that is reminiscent of victorian hospital beds, looping in and back on themselves so that it’s impossible to lie on the bed.

The roses are thorn free - there are no hidden negatives here. But what are hidden amongst the roses are small butterflies and insects, little details to give secret pleasures - often in life it is the smallthings that make a real difference yet can go unnoticed. I deliberately kept the colours of the piece minimal to keep the clarity of the piece and concept, wanting to keep a sense of harmony in this visually complex piece. Continuing the theme, as a final detail, rather than signing the artwork conventionally, the name and signature is added as a plant label.

A graduate and postgraduate of Glasgow School of Art in 1988, Gail worked initially as a Graphic Designer in London before returning to paper sculpture. She has gained international success for her art, which has been recognised in numerous prestigious awards. Amongst them, her “Feelings” series for Kleenex gained 1 Gold and 2 Bronze Lions at Cannes International Advertising Festival 2010 and 1st place at The Big Won for the most awarded work in 2011. Her work has featured in numerous publications and she has exhibited in group shows around the UK that include Somerset House and Bankside Gallery.



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Sculpture, sandpaper on 1960s King's Fund hospital bed


The objective of my art is to change people’s view of the world, for the better.


To achieve this it must be both attractive and meaningful.  If drawn in by the aesthetics then it’s more likely the viewer will engage with the content.  Physical involvement with the artwork can produce a quicker change in attitude – the William James ‘As If’ principle.


My focus is on the process of attrition which is central to nature and human life.  Newton’s Third Law states that for every action there is an equal and opposite reaction.  

I believe this can also be true of interpersonal relationships. Yet this human reciprocity often goes unheeded and

self-centred attitudes persist.  These can lead to unnecessary unhappiness.


Human relationships are an endless process in which one interacts with the other, changing both.  This attrition can be gentle as bodies arouse each other, or aggressive as in acts of war. Attrition can be slow, with bivalves taking millennia to bore a hole in a pebble.  Or it can be as quick as an incoming wave disturbing pebbles at the shoreline.


To explore attrition I adopted sandpaper as my main medium in 2005.  It is available in a wide range of grits, colours, and formats which can convey many different things.  Using sandpaper as my ‘lens’ I can say what has to be said, but in a way that’s not been said before. My ‘Sandpaper Bed’ for the Elder #endbedblocking campaign is the latest example.  With many thanks to 3M for donating Hookit sandpaper, and Sofas & Stuff for warehousing and studio space.

Hamish Pringle was born in London in 1951.  In 1973 he graduated with a BA in PPE from Oxford.  His first 44-year career was in UK advertising agencies.  He was also Director General of the IPA and a Council member of the ASA.  He has co-authored/authored five books.

Starting in 2018 he’s studying for his MFA at Wimbledon College of Arts.  

His involvement in contemporary art dates from 1970 when he worked on ‘Strategy Get Arts’, the exhibition which marked Joseph Beuys’ debut in the UK.




Ceramic sculpture

Demonstrated by Ryan Thomas

The sculpture is based on a human chest made from the bars of a side rail of a hospital bed. It is from an anonymous artist who has a very close connection to the End ‘Bed Blocking’ campaign. He has a huge personal experience with this - he wasn’t ‘blocking’ a bed himself, but he was in hospital for a large portion of his youth, up until his formative adult years, and he felt trapped, he felt fragile, and he felt vulnerable. He has a very strong empathy with what’s going on with the elderly, which is not something that many of us can have until we get to that age.

He has kindly offered his services and created this fantastic piece which encapsulates all of the fragility and vulnerability that people go through - you are helpless, you are a ‘prisoner’ in some ways of your own condition and the lack of options that you have. As you see in ‘The Side Rail’, he really goes deep into that not just on a physical level but on an emotional level; the bruises show, not just showing physical pain but highlighting the emotional pain running through the body; not even your friends, family or the system that’s in place can help you.

The piece is made of clay which formed the original part of the piece that would structure the torso of the body. Once it was set, it was moulded around with fire, using intense heat to get the curvatures of the body, and make the definitions of the bone. Between the ribs there is bruising - dated bruising so it’s not just impact bruising, it’s external, so you can see the pooling of the white blood cells, so some parts have gone yellow and some are a dark, pale purple, showing the impact across the body. It’s not a collection of impact bruises, it’s one impact, across the whole body, and the damage is everywhere.



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