3 THE ART OBSERVER August 2009 By Kate Owen WELSH-BORN  Lawrence Jones is an entrepreneur with a pas- sion for art. His business UKFast has grown from two to 100 people in the last 10 years, elevating him to the top floor of Manchester’s City Tower. Floor to ceiling windows offer a spectacular panorama of exqui- site natural beauty; everything from Wales to the Pennines, and opposite this astonishing view hangs a collection of inspirational artwork. UKFast’s art collection includes pieces by Sheila Meeks, Mary Feddon, Helen Bradley, Oldham- born John Thompson and the pride of Salford - LS Lowry. “I chose to fill the office with these works of art because they are beautiful and inspirational,” says Jones. “My team is encour- aged by the paintings rather than having to stare at the same old magnolia walls or bland stock imagery. They represent achievement and a sense of professionalism” Corporate art is seen as a great way to sponsor talent but it is by no means a new idea. The Royal Bank of Scotland owns a large collection of artwork which used to hang in the great bank- ing halls. Although these halls have long morphed into bars and restaurants the collection remains intact. There has recent- ly been a public outcry regard- ing whether the art should be displayed and regarded as public property now the bank is owned in the most part by the taxpayer. Buying artwork has traditionally been portrayed as a great invest- ment which will increase in value in the years to come. But hanging art in the workplace has benefits beyond the financial. “We choose to support young and local artists,” says Jones. “As well as invest in renowned art- work. All our pieces and/or artists have a strong connection with North Wales or the North West of England. “As a company we’re in touch with our responsibilities in the community.  We’re the main sponsors of Sale Sharks Premiership Rugby Club and support Manchester Camerata as well as other organisations. All of this inspires passion - which is one of our core values as a company.” As a business built on feedback Jones consistently looks to his team for opinions. He took a poll of the UKFast team which found 80 per cent of employees enjoy the artwork in the office and wanted to see more. “I would encourage other businesses to get involved with purchasing artwork,” enthuses Jones. “But don’t just buy it and store it in a vault, these are works that deserve to be seen and enjoyed by all. UKFast. Art in the Workplace My Introducing a new feature to The Art Observer.   Each edition we are asking an art lover to choose their favourite artwork and tell The Art Observer what makes it their favourite piece. This edition Sarah Cunningham, a recent Manchester University graduate who is currently living in Melbourne, Australia, tells us about her favourite artwork. Why not tell us about yours. Submit a ‘favourite artwork review’ not more than 500 words with, where possible, an image  to The Art Observer, Wendy J Levy Contemporary Art Gallery, 17 Warburton Street, Didsbury, Manchester M20 6WA or email wendy@wendyjlevy-art.com.   The one chosen for publication will receive a bottle of wine. PRODUCED IN 1907  this paint- ing revolutionised the art world and can be described as the start of modernism. It is the revolu- tionary nature of the piece that initially attracted me to it, after all, this groundbreaking image broke the rules, and shocked society. In terms of description, the painting reveals a brothel scene in which five exotic prostitutes fill the space. Here, the artist has used a palette of natural flesh tones for the women’s nude bodies, creating a warmness that directly contrasts against the vibrant blue of the  surrounding drapery. Yet, in contrast with art-tradition, it is the subjects that attract our attention and background details are kept to a distinct minimum. But how did Picasso ensure his five leading-ladies maintained viewers attention, not just at the time but also for generations to come? I believe such enchant- ment derives from the unavoid- able gaze of the subjects, each is far from passive, instead their piercing eyes stare right at us; here is a violent gaze that we cannott escape, and one that challenges our role as the viewer; we become the exhibit under scrutiny. An unmistakable violence is evi- dent in the artist’s well-known influence for Les  Demoiselles, the  intriguing masks from so- called  ‘primitive’ lands includ- ing Africa and far-off Oceanic islands. At the time of painting, these were perceived as mysteri- ous lands, filled with savage beings to be feared. It is the two sexually provocative women that wear the masks here and it is this enthralling mixture that creates uneasiness in spectators. An uneasiness that was also prominent in Picasso’s life before producing the image. Further innovation derives from the increasingly personal nature of the artwork: noteworthy is the fact that Picasso began Les Demoiselles   during a period of anguish and personal crisis. During this phase, the artist held a deeply negative view of women that came about after catching a venereal disease from a prostitute; an encounter which left him traumatised, and dis- gusted. Women became a threat, the embodiment of death and danger; danger expressed by the sharp-limbed women of Les Demoiselles.   This is a painting where the bodies of the nude subjects are far from soft and inviting, and instead we are pre- sented with severe angles and pointed limbs which remind us of shattered glass; the women become weapons. Finally, my passion for this Picasso piece comes from its somewhat refreshing nature. After all here is an image that attacks conventional artistic beau- ty, a painting that is bursting with rage and life; Les Demoiselles   is a whirlwind of human emotion. Favourite Painting By Sarah Cunningham Picasso’s  provocative  Les  Demoiselles  d’Avignon, 1907.  The  Museum  of  Modern  Art,  New  York