Outside, Antony Gormley’s statue stands alone looking out across the courtyard to Bermondsey Street, with the Shard at London Bridge in the distance.
Inside, above your head, you might sense traces of a helicopter in the neon rotor arms, the body and the circular wheel – in fact the shapes are derived from drawings of the first helicopter designed in 1907 by Paul Cornu and the composition is hung here as if in an aeronautical or science museum, contrasting with the white walls and the stripped ceiling.
Then you pass under geometric neon geometric shapes leading to a huge wall of Japanese text derived from Proust’s ‘Sodom & Gomorrah’, while beyond are sound sculptures and more swirling neon sculptures.
Welsh artist Cerith Wyn Evans has filled the spaces of the White Cube Gallery with his characteristic swirling neon sculptures, many of them new work as he brings science, technology and art together in his exhibition ‘No realm of thought… No field of vision‘, which would have been on show until this weekend were it not for the coronavirus crisis.
Things change in the north gallery where we are confronted with folded screens of shattered glass inspired in a crystal-clear way by Duchamp’s famous ‘The Bride Stripped Bare by her Bachelors. Even’ (1915-23) alongside mobiles of shattered glass vehicle windscreens, while in another space Wyn Evans again goes back in time, this time with early moving images as he projects silhouettes of rotating trees onto the wall