Blenheim Palace


Performance drawing encompassing the entire 55 meters of the Long Library at Blenheim Palace designed by Sir Christopher Wren.  The Live Drawing will be projected to create a trompe d’oeil ceiling in a radical inversion of this iconic space.

The Queen Opens Schroders New Home at London Wall Place


Last week Her Majesty The Queen opened the new headquarters of Schroders at 1 London Wall Place. The building is home to a new commission for Hugo Dalton: a wallpainting situated across eight floors of the new interior to provide a sense of depth and space. As Dalton says, ‘Essentially the wall painting is the illusion of a sculptural form that weaves its way through the space and plays off the rigid geometry of the staircase. The line is dancing with the staircase.‘

The hand-painted quality of the work is brought to the fore by Hugo. On close inspection, it is possible to see that each line is made up of individual brushstrokes. “Like many things in life, it’s about the small things adding up to a whole. The idea that someone sending an email, or turning a page, is a minute moment in the life of Schroders – especially given their long history. My aim, therefore, was to create a work that is visually striking but owes its existence to hundreds of tiny moments. The individual brushstrokes, when read together, cohere – with a sense of joyful energy – into one unified work.”

Moving Lines


Hugo Dalton will create a live drawing for a new work by choreographer Charlotte Edmonds at the Royal Opera House. The work, which will be performed on the 25th November in the ROHs Clore Studio, has been commissioned to celebrate the opening of the new Stanton Williams designed entrance to the famous Covent Garden home of the Royal Ballet.

Art of the Invisible


An interdisciplinary conference at The Courtauld Institute of Art exploring art’s relationship with the invisible.

‘He even painted things that cannot be represented …’, Pliny eulogized Apelles in his Naturalis historia. ‘How can we with mortal eyes contemplate this image whose celestial splendour the host of heaven presumes not to behold?’, asks a Byzantine hymn dedicated to the celebrated Image of Edessa. Cennino Cennini, in the first chapter of his Libro dell’arte, writes that painting ‘…calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist.’ In her 1949 essay Some memories of Pre-dada: Picabia and Duchamp, Gabrielle Buffet-Picabia tried to summarise the art of her era: ‘It would seem … that in every field, the principal direction of the 20th century was the attempt to capture the “nonperceptible”.’

Art has been preoccupied with the invisible before, between, and beyond these disparate yet kindred statements. One of artists’ greatest challenges is and has been representing the invisible subject, in its many guises. Artists working in media based on perception, such as painting, drawing, sculpture, photography, and installation, must devise strategies to visualise the invisible: It is a foundational paradox of art.

Art of the Invisible aims to investigate artistic strategies for the invisible, across disciplinary, chronological, geographical, and medial boundaries. This interdisciplinary conference will bring together a variety of speakers to examine the problems and strategies for visualising the invisible, providing answers across these boundaries.

Royal Academy of Arts London


Hugo has been commissioned to document the forthcoming symposium for the RA London

The title Experiencing Architecture: Inviting Dialogue is both a reflection of the event’s intention and the belief that a meaningful experience of architecture is one that results in a reciprocal and evolving relationship with the spaces we inhabit.