Corrie Baldauf and the Gold Zero

Niall Flynn /
Nov 29, 2016 / Opinion

The major redevelopment of the Television Centre isn’t set to begin until next year, but that hasn’t stopped the creative community getting stuck in a little early. They’re prone to that.

Using using 200 litres of iridescent gold Liquitex paint, American artist Corrie Baldauf has created Gold Zero, a gigantic piece of artwork that covers 230 square metres of concrete on the building’s rooftop car park.

I find the experience of standing on top of buildings exhilarating. They are my mountain tops,” said Baldauf on the piece. “I want this excitement to be shared through a collaborative project, celebrating and embracing change together.

The work mirrors the shape of the car park ramp, demonstrating its architectural function ahead of 2017’s redevelopment. Television Centre is set to deliver 950 new homes and apartments, House gym, 400,000 square feet of office space and a new outpost of private members’ club Soho House, along with a with 47-room hotel. It’s a flapship transformation for the regeneration of the larger White City area, an £8 billion, ten year project. It is set to form a new hub of business, creativity, arts and academia in West London.

Gold Zero is supported by Griffin Gallery and White Noise, is in collaboration with Liquitex paint and signifies the end of the Corrie’s three-month artist residency at Griffin Gallery. Speaking on the piece, Becca Pelly-Fry, Griffin’s director, called it an “important point in the development of the Griffin Gallery Residency programme”.

She said: “Corrie is our first official ‘International Resident’ and represents the beginning of a new partnership with Residency Unlimited in New York.  Corrie’s artistic practice aims to encourage conversation with whoever she, or her work, comes into contact with.  She imagines the world in such a way that engages people in her way of seeing, and leads to new avenues of thinking about our immediate surroundings.  Having Corrie with us for 3 months has been wonderful, and to finish with this large scale public intervention feels absolutely appropriate and rather ceremonial.”

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Words by Niall Flynn

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