A walk through the works of Morag Myerscough in London.

Our latest cleaning cloth was designed by Morag Myerscough, whose bright colours and love of bold symmetry make her work instantly recognisable. Her mantra is indicative of the joyous nature of her work: ‘make happy those who are near and those who are far will come’. The design is drawn from Joy Garden, an installation she created for Sheffield Children’s Hospital in collaboration with Artfelt, a charity using design to help children recover in an environment tailored to them. All proceeds from the cloth will be donated to Artfelt.

To celebrate the launch, we went on a tour of Morag’s work in her native London, where her eye-catching installations abound.

This was Morag’s first permanent installation, a technicolour adornment of Grosvenor Arch, the entrance to Battersea Power Station’s Circus West Village. This riot of colour and geometry, hand painted on marine plywood, is an eye-catching frontispiece for the area’s major reconstruction. Since its installation, the station has reopened as a hub for Nine-Elms, a modern day revivification of the ‘power’ it provided for decades.

Atoll is a beacon of Morag’s mission for art and accessibility. It stands proud in the lower atrium of a corporate building in Broadgate, connecting it to the wider community. Its bright colours and lush foliage provide a welcoming diversion, encouraging pedestrians to use the building as a thoroughfare and thus connecting Broadgate to the wider community. It’s lower portion houses perhaps London’s most eclectically enshrouded café.

Not an installation, per say, but a permanent exhibition at the Design Museum, curated by Alex Lawson and designed by Morag, celebrating the relationship between three participants in the design process: designer, maker, and user. Through a process of layering the exhibition’s three parts, so that they interweave and interact, the physical space encourages connections between its assembled objects. The whole show is introduced by a mechanical wall, intermittently displaying the three terms in Morag’s signature style.