British artist Liz West has created the prismatic public artwork for Granary Square this winter, a 10.7 metre totem of brilliant diagonal stripes of colour – a signature in West’s work – installed with UV lighting that makes the triangular prism glow at night.

Visitors are able to sit right next to the sculpture, explore it up close or experience it from afar; the intersecting lines of colour will appear different depending on your perspective and proxmity. The abstract piece draws inspiration from the winter festive period’s celebration of light – found across many cultures and religions.

Fluorescence is the latest in a series of winter installations commissioned by King’s Cross as part of its programme of art and culture in the rejuvenated neighbourhood, and sits in the heart of the Coal Drop’s Yard where there are weekly special events and markets happening in the coming weeks – keep an eye on their website for more more information.

The late, great artist and designer Eileen Lucy ‘Tirzah’ Garwood, who died aged 42 in 1951, is considered by some to be one of the most original figures in twentieth century British art, yet in her lifetime, and in the decades that have passed since her death, she has often been forsaken, outshone by her husband, the painter Eric Ravilious – who was killed in a plane crash aged 39, leaving Garwood to raise their three children alone – until her own death less than a decade later, to breast cancer.

Yet – as this new retrospective at Dulwich Picture Gallery demonstrates – Garwood was an exceptional artist in her own right. It is the first time much of her extensive oeuvre has been seen in public: some 80 of Garwood’s oeuvre are showcased here, including surrealist oil paintings, early wood engravings, satirical sketches rendered in pencil and experiments with paper – her marbled papers were sought after at the time, and some are now in the V&A collections.

“She has a lot of fans,” says James Russell, the exhibition’s curator, told the Guardian, “most people haven’t had the opportunity to see even the tiniest amount of what she made.” Russell’s hope is that this extraordinary artist and her singularity as a creative will pique the interest of a new generation. Garwood is at last moving out of her husband’s shadow – it’s only a shame she isn’t still here to see it herself.