Fresh Eyes On Sculpture - Photography Competition Winners

We are delighted to announce the winners of our photography competition for Loughborough University students and staff. Nine outstanding photographs have been chosen for display in Pilkington Library, with cash prizes for the two best entries.

During February 2023 we were looking for photographs that presented new ways of looking at campus sculpture. Silhouettes, close-ups, long exposures, or photographs taken from an unusual angle: anything, in fact, that offers a fresh perspective on works that thousands of people see every day!

Photographs must have been of a sculpture (or sculptures) in Loughborough University’s collection.

We are happy to announce the nine winning entries as part of Sculpture Week running from March 6 - 12. You will be able to view the photographs on display in Pilkington Library in Staircase B on the ground floor.

Winner - Abstract by Xu Pan

This photograph is taken from inside one of the tubular forms that make up Bernard Schottlander’s Abstract, which beautifully frames the plane flying overhead. — This photograph is taken from inside one of the tubular forms that make up Bernard Schottlander’s Abstract, which beautifully frames the plane flying overhead. In this, it succeeds in suggesting to the viewer not only a new way of viewing the sculpture (which appears from the outside as a series of angled red tubes), but also the world itself.

Runner-Up - The Flame by Martin Duke

This powerful photograph showcases the vibrant patina on Neil and Auriol Lawson Baker’s The Flame. — This powerful photograph showcases the vibrant patina on Neil and Auriol Lawson Baker’s The Flame. Yet it’s not just about the surface: clever composition showcases sections of the sculpture in contrasting light, creating a sense of depth and bringing the work’s elements into a new relationship with each other. The sculpture has also been used to frame the mast and flora beyond, with the latter providing a beautiful contrast in colour.

Commended - Double Movement by Felicity Thompson

With this inventive long-exposure photograph, the curving forms of Michael Gillespie’s Double Movement have been complemented by light ‘painted’ with a torch. Outlining her approach to the photograph, Thompson stated that “Gillespie wanted the viewer to engage with the artwork as if listening to music. The light trail mimics the musical ‘flow’ of the sculpture as experience rather than specific meaning.”

Commended - Aftermath by Felix Cross

One of two selected photographs to make use of the reflective qualities of Ian Tricker’s Aftermath, this beautifully composed shot stood out for the way in which it also foregrounds the surface qualities of the sculpture.

Commended - Per Saeculi Quartum by Felix Cross

By photographing Michael Dan Archer’s Per Saeculi Quartum from a head-on angle, Cross has encouraged reflection on its triangular vertical forms, which don’t reveal themselves when first viewing the sculpture. — By photographing Michael Dan Archer’s Per Saeculi Quartum from a head-on angle, Cross has encouraged reflection on its triangular vertical forms, which don’t reveal themselves when first viewing the sculpture. And while the photograph has something of a timeless quality, it also includes staining on the sculpture’s sandstone element: this has accrued slowly over a number of years as rain washes off elements of the bronze’s patina.

Commended - Cave of Light by Gaurav Vasnani

The imposing form of Pål Svensson’s Cave of Light stands proudly beneath a stunning evening sky. While the exterior elements of the sculpture reflect the sunset’s golden glow, the interior of the work remains mysterious, with only dim light penetrating from behind.

Commended - Colours are All Around Us – Atsiaƒu ƒe agbo nu by Harsha Brooks

Whilst wall-mounted paintings are generally intended to be viewed head-on, the colourful forms painted onto the exterior of Atta Kwami’s Atsiaƒu ƒe agbo nu can be viewed from a range of perspectives. — Whilst wall-mounted paintings are generally intended to be viewed head-on, the colourful forms painted onto the exterior of Atta Kwami’s Atsiaƒu ƒe agbo nu can be viewed from a range of perspectives. Harsha Brooks’ photograph looks up from beneath the sculpture’s arched form to make the most of this, allowing us to see the blocks of colour from a fresh perspective.

Commended - Macaroni Constellation No. 33 by Kay Wang

This image layers three separate photographs of Peter Blunsden’s Macaroni Constellation No. 33 together. The resulting work pays close attention to the surfaces and curves of the work while creating a vibrant sense of motion. — This image layers three separate photographs of Peter Blunsden’s Macaroni Constellation No. 33 together. Situated just off University Road near the Pilkington Library, this is perhaps the most frequently viewed sculpture on campus, and Wang felt it was worth of celebrating from close-up rather than quickly viewing as we walk past. The resulting work pays close attention to the surfaces and curves of the work while creating a vibrant sense of motion.

Commended - Aftermath by Rebecca Matthews

This stunning photograph makes excellent use of the qualities of film photography, which beautifully captures the qualities of night lighting. The colours are so vivid the viewer can almost feel the chill, while the composition reveals only part of the sculpture’s form, creating a palpable sense of mystery.

All photographs above can be viewed in the Pilkington Library

A group of 9 people standing in a white stairwell with framed photographs surrounding them — We are delighted to announce the winning entries of our sculpture photography competition are on display in the Pilkington Library Stairwell B. Pictured are all our winners of the above photographs standing with one of the judges, Emma Walton, Director of Library Services at Pilkington Library.