Whale On The Wharf bursts out of dock on Water Street corner

StudioKCA installation made from ocean plastic waste carries an environmental message as it captures the attention of Canary Wharf visitors

Whale On The Wharf by StudioKCA is located on Water Street in Wood Wharf, next to Dishoom and Marceline - image by Jon Massey
Whale On The Wharf by StudioKCA is located on Water Street in Wood Wharf, next to Dishoom and Marceline – image by Jon Massey

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Just ask Jonah, whales are messengers.

The largest creatures on Earth have inspired countless works of art and fiction, often used to draw attention to matters of importance.

In the Hebrew scriptures, Jonah finds redemption in the belly of a great sea creature, having turned back to a righteous path.

There’s Moby Dick and Thomas Hobbes’ Leviathan too, but we needn’t get bogged down with revenge, obsession and highfalutin social philosophy.

More recently, Star Trek IV: The Voyage Home saw Captain Kirk and crew forced to time travel back to 1986 on the silver screen to pick up a pair of humpback whales, thereby averting ecological disaster after an alien probe comes seeking the ocean giants, only to find them extinct in 2286. 

That’s almost as far-fetched as everyone running around with hand-held communication devices and tablet computers… 

Recently unveiled on Water Street, Whale On The Wharf, then, belongs to that proud tradition of leveraging the largest animal on the planet as a lodestone for attention and it’s exactly what StudioKCA’s intallation does

Leaping from the waters of the dock close to Marceline and Dishoom, the 12-metre high sculpture successfully breaches the consciousness of passers-by.

StudioKCA have also created similar pieces in Kaohsiung, Taiwan, and in Bruges, Belgium.

The whale's skin is made from plastic waste reclaimed from the ocean - image by Jon Massey
The whale’s skin is made from plastic waste reclaimed from the ocean – image by Jon Massey

the story Whale On The Wharf tells

“We’re telling the story of how we live, what we use, where it ends up and what we should do about it,” said Jason Klimoski, who along with his wife Lesley Chang run the Brooklyn-based art and design studio that created the piece.

“It’s about the 150million tonnes of plastic in the ocean and the 8million we add to that each year.

“A lot of that is hidden, so bringing some of it here hopefully helps people visualise it.

“The plastic used in Whale On The Wharf comes from the Pacific and the Atlantic. We worked with the Hawaii Wildlife Fund to collect about five tonnes of plastic. 

“We cleaned it, organised it by how long it had been in the water, sorted it by colour and cleaned it piece by piece.

“We chose to make a whale because, pound-for-pound, the plastic in the ocean weighs more than the total of all the whales on the planet. 

“We thought it would be the perfect metaphor to help people understand the scale of the problem.”

The sculpture is supported on a recylced steel frame and concrete foundations made with biochar from spent coffee grounds collected from Canary Wharf - image by Jon Massey
The sculpture is supported on a recylced steel frame and concrete foundations made with biochar from spent coffee grounds collected from Canary Wharf – image by Jon Massey

a sustainable foundation for Whale On The Wharf

While the leaping creature is the public-facing portion of the work, Whale On The Wharf is also a creation of significant depth.

Canary Wharf Group’s commission is about a lot more than adding to its extensive public art collection.

Wharfers sipping coffee on the estate and then discarding their cups in its waste bins have contributed to its construction.

The sculpture sits on a foundation of concrete made with  biochar, a material that replaces sand in the mix and is made from those discarded grounds.

This also prevents CO2 being released when the coffee breaks down and reduces demand for the extraction of traditional raw resources from the Earth.

“We understand the power that art holds,” said Sophie Goddard, director of environment, social and governance at Canary Wharf Group.

“It can provoke emotion and it can create change.

“With this project we’ve really pushed the boundaries of what can be achieved.

“We thought about how we can take the principles of the circular economy and push those forward.

“We’ve locked up spent coffee in the foundation and we’ve been able to do that through the efforts of our in-house waste management team. 

“They hand-sort the rubbish that goes into our bins and their work means we’ve sent no waste to landfill since 2009.”

Whale On The Wharf is free to visit and stands 12 metres tall - image by Jon Massey
Whale On The Wharf is free to visit and stands 12 metres tall – image by Jon Massey

a strong steel core

On top of the concrete, Whale On The Wharf is supported by a braced steel structure made from recovered and reused steel to further reduce its environmental impact.

Jason said: “Inside the sculpture there’s a steel spine that supports the structure and aluminium armature to make the shape of the whale.

“Onto that we attached each of the pieces of plastic using steel ties and screws.

“We really want people to see the things they use every day, to recognise them and then wonder what happens to them. How did the things that make up this sculpture get here? What was their journey?

“There’s a car bumper, a kid’s toilet. It’s really the items that relate to children I find both funny and sad.

“Hopefully there’ll be a conversation at home after, especially with the kids, about how we use plastic and what we do with it afterwards.

“When we were building it, we were focussed on the scale of the issue, not necessarily on the thing itself.

“We have a son and so we have to think about the stuff we buy him and what will happen to it.”

Now Canary Wharf has both a head-turning artwork and also a constant reminder of the consequences of unbridled consumption on our planet.

As well as its role in drawing attention to environmental issues, the installation is a significant addition to the estate’s sculpture collection – the largest publicly accessible collection of outdoor works in the UK.

“The whales is a landmark, it’s visually stunning and it really stops people in their tracks,” said Lowri Harries, associate curator of public art at Canary Wharf Group.

“That’s exactly what we want. Since our initial call with Jason, the installation has involved pretty much every part of our business.

“Construction, development, sustainability, marketing and communications as well as all the external contractors that have worked on the project. 

“It’s taken a village to make this happen and we’re really thankful to everyone involved.”

An Ode To Never Fitting In, 2024, by Ashley Cluer is seen at Refuse in Broadwick Studio - image by Jon Massey
An Ode To Never Fitting In, 2024, by Ashley Cluer is seen at Refuse in Broadwick Studio – image by Jon Massey

opening up Refuse

Coinciding with the launch of Whale On The Wharf, Canary Wharf Group is also hosting Refuse, an exhibition of works by artists Poojan Gupta and Ashley Cluer who both work with reclaimed materials. 

Visitors can expect to see a selection of sculptures including a vast chain made from medicine blister packs and vibrant lime green shapes made from cement, newspaper and recycled wood.

Free to access, the exhibition is on display at Broadwick Studio.

Perhaps when prompted by all these signs, we might take more notice of the way we’re living as a species and even avoid alien annihilation in the future. 

PS, at Wharf Life we’re calling the Whale Bruce. You didn’t hear it from us…

key details: Whale On The Wharf

Whale On The Wharf is located on the corner of Water Street and Park Drive in Canary Wharf’s Wood Wharf. The installation is free to visit.

Refuse is in place until April 26, 2025, and is open from 10am-6pm on Thursdays, Fridays and Saturdays at Broadwick Studio on the corner of Water Street and Charter Street in Wood Wharf.

Find out more about the sculpture here

Read more: How Orbit Clipper is set to become the first all-electric ferry on the Thames

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Canary Wharf Winter Lights set to light up east London in January

We get tips for the festival and take a deeper look at Emergency Exit Arts’ Stitching Light installation

One of the show stoppers this year will be Error at Westferry Circus
One of the show stoppers this year will be Error at Westferry Circus

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January 21, 2025 is set to see the Canary Wharf Winter Lights festival return for 12 days of illumination, filling the estate with installations for a ninth edition.

For 2025, there will be a total of 12 temporary artworks on show, combining with seven permanent pieces making a total of 19 for visitors to discover.

But when the electrons start flowing to create all those photons for our eager eyeballs to absorb, one work in particular will be shining for east London and beyond.

Commissioned by Canary Wharf Group for the festival, Stitching Light is the result of collaboration between Emergency Exit Arts (EEA), artist Ruhul Abdin in Bangladesh and Oitiji-jo.

The piece draws on the stories and experiences of British Bangladeshi women who migrated to the UK early in their adult lives.

The resulting installation will be placed at Wren Landing during Winter Lights.

the genesis of Stitching Light

“We work with hundreds of different arts practitioners and what we’ve noticed with lights festivals is that the pieces featured are often very beautiful but there may not have been participation or much of a story behind them,” said Daniel Bernstein, CEO of EEA. 

“Often the artists involved in light pieces are white men, so we’re always interested in bringing in different stories and greater depth to the work.”

With Ruhul in place as creative director, work on the project began with workshops run by freelance artist Shama Kun via the Oitiji-jo Collective at Republic in Blackwall. 

running the workshops

“I run a lot of sessions with the Bangladeshi community, dealing with crafts, so I’d bonded with the women locally,” said Shama. 

“With this project, I realised that we had never looked into the stories of the mums and aunties.

“So we provided a safe space and invited them to contribute.

“We tried to be relaxed about it, having tea, a conversation, so the process started with that. 

“We asked them to bring memorable objects, so the stories could start from there, then we drew maps, starting with their childhoods and what the transition to Britain was like.

“One thing that came out was they described their lifestyles as a rainbow.

“They said that their lives started as colourful, really amazing, and then their transition to here was a rollercoaster, not knowing people – it was a struggle.

“In the community we’ve relied on these women but haven’t looked in depth into their stories.

“They opened up for this project because they felt safe.

“They came here very vulnerable, without any support and talked about many things including being the victims of racism – that trauma is still there.

“After the workshops I realised I am here today because of their sacrifices, that we are resilient because of their resilience.

“This was a platform for them to tell their stories and I hope there will be more spaces like this for them to do that in future.

“We recorded the conversations – lots of discussions about their favourite foods, colours, smells and more – before turning over the material to Ruhul.”


An artist's impression of how Stitching Light will look at Canary Wharf Winter Lights
An artist’s impression of how Stitching Light will look at Canary Wharf Winter Lights

a piece for Canary Wharf Winter Lights

That work formed the basis of the finished piece – a series of three metre-high fabric panels with illuminated thread stitched into the design which will be displayed in a 3D structure allowing visitors to walk through and around the work.

“What you see are very beautiful, soft, subtle layers of the stories we were told,” said Ruhul.

“The panels are stitched and painted with a sound piece to accompany them reflecting some of the women’s thoughts and stories, the songs they sang and the songs they like. 

“We worked with a folk artist to translate some of these ideas into Bangla-inspired paintings which would then be taken back to London – it was back-and-forth between Bangladesh and the UK.

“For me it’s important to have this piece on display in Canary Wharf because Tower Hamlets has hosted so many generations of Bangladeshis now – there is a need to be visible beyond the brown person walking our streets.

“There is also the multicultural aspect of London and this is a nice way to celebrate something without it being a research project or an academic exercise.

“We’re creating art together and it’s a beautiful way of highlighting who the women were and are, and the potential of art to begin to make some of these nuanced changes as Canary Wharf itself continues to evolve.”

representation at Canary Wharf Winter Lights

Daniel added: “Being part of Winter Lights its really important for the participants in the workshops and for the people making the work.

“From an audience perspective, there are going to be layers.

“Perhaps half of the visitors will walk through the piece and be impressed by the lights and the images – but they may not understand the Bangla script on the panels, although there will be a panel explaining the work.

“Hopefully, anyone from a Bangladeshi background will come to the piece and see themselves represented. It’s quite subtle.”

Shama said one of the most important parts of the project was to celebrate the local community. 

“There is so much out there for us to learn from our past generations,” she said.

“These women might not boast that they have done this or that, but they have silently achieved things and we need to carry their flag.”

Ruhul added: “One of the biggest takeaways is the potential to hope that this work will continue.

“I have spoken to a colleague who is a Bangladeshi migrant elsewhere and they said how crucial it was to understand things from the elders.

“It is important to see that Stitching Light is inspiring, so the next generation want to  understand more about who they are, where their families have come from – especially those of us who are not white British, but it’s vital for everyone.”

Emergency Exit Arts was founded in 1980 as an artists’ collective aspiring to make a positive difference to people’s lives – especially those who have suffered discrimination or economic exclusion.

It has been based in Greenwich for more than 35 years.

Wave by Squidsoup will be in place at Columbus Courtyard

top tips for the festival

Canary Wharf Winter Lights is set for a blockbuster turn, drawing hundreds of thousands of people to the estate over its 12-day run.

We sat down with Canary Wharf Group’s associate curator of Arts And Events, Lowri Harries, and Arts And Events manager, Camilla McGregor, to get a few tips on what to look out for…

LH: Vendel And De Wolf are back in Westferry Circus with Error – an upside down pylon with a tornado of lights around it, 13 metres in the air.

Last year they created a piece called Sign, which looked like a huge fire. 

They specialise in taking mass produced materials and using them to depict natural phenomena.

For Error, they’ve used technology to give the piece a random element, reflecting the idea that both nature and machines can go wrong.

Don’t Miss Out: Make sure your table is booked for the festival

CM:I’m looking forward to seeing Portal in the flesh. It will be a 13 metre-high mirrored doorway in Union Square that visitors can walk through. 

I think the scale and magnitude of it will make people feel quite small in comparison and also acts as a piece to frame the Wharf with great sight lines though it to other parts of the estate.

It’s one of the largest pieces we’ve ever hosted and it’s definitely something new.

LH: I’m also especially looking forward to seeing Aj Vana Be by Benedikt Tola – it’s essentially a stack of 32 reclaimed bathtubs that have been taken from socialist-era residential buildings by the Czech artist.

It draws attention to the scarcity of water.

Even though washing is an an everyday act, it draws attention to that privilege.

CM: Putting Winter Lights on is essentially a year-long process.

A month after it’s finished, we begin work on the next edition, sending out an open call for artists and organisations to contribute.

Then we start looking for work to feature. 

LH: It feels really lovely when we see people enjoying the installations.

I think visitors really treasure a free event in January with people coming from the local community and from further afield. 

As with Stitching Light, we’re looking to work with and take inspiration from the local community more and more – we want everyone to feel comfortable coming here.

This is a place for everyone.

Canary Wharf Winter Lights will feature seven permanent installations including The Clew alongside the 12 temporary works
Canary Wharf Winter Lights will feature seven permanent installations including The Clew alongside the 12 temporary works

key details: Canary Wharf Winter Lights

Canary Wharf Winter Lights is set to run daily from January 21-February 1, 2025, 5pm-10pm, with 19 installations to discover across the estate.

The festival is free to visit.  

Find full details of Winter Lights here and plan your visit with the official event map here

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