unframe showcases Works by emerging artists and designers from all over the world online and at its shows.
Discover now
Campaign launched
Target $4,000 // I pledge $100
Become a co-producer
A Co-Producer is the Patron of the 21st century. Support your favourite artist or designer by pledging to the Work you like an amount of your choice.
Start here
Work sold
Work sold for $10,000 // I get $154
Get rewarded
The target amount is 40% of the Work's price. That's why when the Work you funded sells for its full price, you get a commission.
Learn more
Are you an artist or designer? Learn more about submitting your work to unframe.

Paddy Hartley's Wellcome Trust Arts Award Project

Paddy Hartley's Wellcome Trust Arts Award Project
Papaver Rhoeas, 2015 Copyright © Paddy Hartley 2015.

art:i:curate artist Paddy Hartley will exhibit his Wellcome Trust Arts Award Project entitled 'Papaver Rhoeas' in major cultural institutions across London throughout November 2015 including the Saatchi Gallery, the Foundling Museum, Sir John Soane’s Museum, Brunei Gallery - SOAS and the Royal Botanic Gardens - Kew among others.


Artist Paddy Hartley has created a series of highly emotive and thought-provoking hand-made poppy sculptures using pathologically preserved lamb’s heart tissue.


Drawing on the poppy’s synonymity with the commemoration of World War 1, 'Papaver Rhoeas' are finely crafted artworks produced by a unique team of art and science practitioners that address contemporary notions of remembrance and the cultural phenomena of memorialisation. 





Paddy Hartley’s poppy sculptures are composed of lamb’s heart muscle tissue, horsehair and vintage suture cotton and are presented like pathological specimens in glass blown jars that have been designed in the form of spent World War 1 artillery shells.


Every poppy varies in colour and composition, and each will be installed in a thematically diverse range of institutions covering topics such as the military, science, social history, theology and contemporary art. They will reflect the highly volatile and variable nature of both personal and social memory, and address how particular narratives from different voices may be authenticated or disavowed. Importantly, the sculptures draw no affinity to any notion of nationality nor numbers of dead, but acknowledge all lives lost during conflict whether they are service personnel or civilian, young or old, or from any faith or ethnic background. Instead, they emphasise our universally shared vulnerability of the flesh.


We live in a culture of increasing real world and virtual memorialisation and there are ever more frequent rituals and ceremonies devoted to the bygone past. Many World War 1 commemorations take place at legitimised national museums, monuments and archives where the horrific events of 1914 -1918 have been stratified through preserved documents, objects and accounts. In stark contrast to this, Hartley’s chosen medium is muscle tissue. The anatomy of each sculpture has a literal connection to the actuality of the events that the poppy has been assigned to memorialise such as the loss of the body, the passing of life, the blood spilled and the decomposition of flesh on the battlefield.





As flesh turns to dust, similarly a selection of Hartley’s poppies are designed to transition from solid object to transparent ghost like forms and in some cases to disappear. As a result of intensive experimentation with enzymes and tissue clearing processes, a number of these sculptures will gradually fragment and disintegrate over the period of their display. The physical object will literally transfigure to exist solely as a memory in the mind of the viewer. As temporary, transitory and ephemeral artworks, the 'Papaver Rhoeas' sculptures dispute the veneration of the material trace and present a charged, vital and momentary reliquary for remembrance and memory.


With the centenary of World War 1 upon us, it is an opportune moment to examine the reasons for the cultural compulsion for memorialisation and ask if a moment of closure from trauma might be possible. Do we memorialise for those lost, or for ourselves? With continued and new conflicts wrought across the globe, why are we seemingly unable to learn from the events of the past? With the passing of living memory, the grip of those with the most fierce, impassioned and raw connection to each war is gradually loosened and the events they endured inevitably become systematically assimilated into the history of all other conflicts. Hartley offers another option. These poppies remain a mirror for memory itself, being in a state of permanent evolution and, in some cases, susceptible to disappearance. He presents the notion that a more vigorous and productive interaction with remembrance may well entail an ability to forget.


Curated by Niamh White.

Supported by the Wellcome Trust.

With special thanks to the Dental Institute King’s College London.





Paddy Hartley is a visual artist based in London. He holds a BA Degree and a Masters Degree in Sculpture/Ceramics from the University of Wales Institute, Cardiff (1998). He is a four time recipient of the Wellcome Trust Arts Award and has been awarded Awarded the Creativeworks London 'Creative Entrepreneur in Residence' Award for 'Novel Networks' (2014). His work has been exhibited internationally and is featured in Featured in the permanent collections of museums including the National Museum of Art, Oslo (Norway), the National Army Museum, London, (UK), the Museum of Arts & Design, New York (USA) and the Wellcome Collection, London (UK).



All rights reserved © Paddy Hartley 2015.


Collect art by Paddy Hartley.

We use cookies to improve our website and your experience. By continuing to browse our website, you accept our cookie policy. Learn more.