Sarah Morris, ‘Big Ben 2012’, 2011, Joanna Bryant & Julian Page

Only available as part of the complete framed set of 12 Official Prints from the London Olympic and Paralympic Games 2012 : Anthea Hamilton - Divers, Martin Creed - Work No. 1273, Howard Hodgkin – Swimming, Bridget Riley – Rose Rose, Chris Ofili - For the Unknown Runner, Rachel Whiteread – LOndOn 2O12, Fiona Banner - Superhuman Nude, Michael Craig-Martin – GO, Tracey Emin - Birds 2012, Gary Hume – Capital, Sarah Morris - Big Ben 2012, Bob and Roberta Smith - LOVE.

Six colour screen print with one glaze on 410gsm Somerset Tub sized paper.

Since the mid-1990s Sarah Morris has been creating complex, geometric, abstract paintings derived from cityscapes and architectural detail, signs and symbols. To celebrate the Paralympic Games coming to London Morris has created an abstract representation of one of the city's most iconic landmarks - Big Ben. The grids and vivid colours create a sense of dynamism and also evoke images of athletic tracks, swimming lanes, and field markings.

Since 1912, each Olympic Host City has commissioned one or more posters to celebrate the hosting of the Games. The official posters of the Games are now themselves a unique celebration of 100 years of the meeting of art and sport, and a body of iconic work has been created over the last century. For London 2012, a commissioning panel including Tate Director Sir Nicholas Serota invited 12 leading artists to create images, using the Olympic and Paralympic values or the city of London as inspiration. Each resulting artwork is a distinct interpretation of either the Olympic or Paralympic Games.

About Sarah Morris

Since the mid-1990s, artist Sarah Morris has produced a large body of work using both painting and film, which create a new language of place and politics.

Morris’ paintings and films contain elements that complement and connect to one another, generating a constant back-and-forth play between the two. In her paintings, she uses colors and geometries that she associates with a city’s unique aesthetic vocabulary and palette, as well as its character and multiple histories. Within the framework, Morris’ work plays with social and bureaucratic typologies to implicate obstructive systems of control. In her films President Bill Clinton, Chase Bank, Philip Johnson, Robert Towne, the film industry, poster design, the Olympics, the banking system, Oscar Niemeyer, J.G. Ballard, perfume, lunar cycles, pharmaceutical packaging, birdcages and even fruit are all fair game.

In writer Bettina Funcke’s words: “She wants to be both author and protagonist, and to her that means using compromised personalities and places as portals into entanglements of power, generating a sense of dizzying simultaneity that she translates into motives and resources for her paintings and a flow of images for her films, all of which add up to topologies of a moment in the life of power and style.”

— Submitted by the artist’s studio

American, b. 1967, Sevenoaks, Kent, United Kingdom, based in New York, NY, United States