Weigl's work sits in collections and placements including Coutts, HSBC Private Bank, Barclays Wealth (Geneva and Paris), RBS, Deutsche Bank, Jupiter Asset Management, Aviva, Kinnevik, and BHP, alongside hospitality placements for NCL, Emaar, Four Seasons, Hilton, The Address Skyview Dubai, Jetex Executive Aviation, and The Taj Mahal Palace in both Mumbai and Dubai, with public and commercial work for the Grosvenor Group, The Shard, and Canary Wharf, London. For nearly a decade he designed the Lubetkin Prize and the Manser Award for the Royal Institute of British Architects, presented annually to architects internationally. He has also worked directly with Rockwell Group on separate commissions in New York and Madrid, alongside placements delivered through leading international design consultancies worldwide.
His work has shown at Art Miami, Art London, Art Southhampton, Art Palm Springs, Art Toronto, the London Art Fair, Art Taipei, and the V&A's Collect. He has been represented by Woolff Gallery and Belgravia Gallery in London, and is currently represented across Asia by iArts and White Space Art Asia.
Petr Weigl: About
For over twenty years, clients have chosen Petr Weigl's sculpture for some of the most demanding spaces on the planet: five-star hotel lobbies, cruise ship atriums, boardrooms, and the private collections of major banks and financial institutions, across every continent. None of it happened by chance. Clients arrive with different starting points, a feeling, a loose theme, sometimes a fully formed idea, but rarely with the shape of the thing itself already worked out. Every one of those decisions came down to the same skill: working alongside a consultant to read what was actually being asked for, build a proposition around it, and deliver something that surpassed what the client had originally pictured.
The work speaks for itself. What keeps clients coming back is something else: how he thinks, how he solves problems, and the attention he brings to details most people wouldn't think to ask about. Long before Weigl became an artist, he spent a decade in senior creative leadership: Creative Director at Microsoft Network UK, then one of the founding directors of the digital agency Tonic Design, where he helped grow the studio from three people to thirty-five, managing accounts including the VW, BBC, Sky, Microsoft, and Barclaycard. That grounding, reading a brief properly, running a project, holding a budget and a deadline without drama, never left him.
A piece of sculpture in a commercial or private space isn't decoration; it has a job to do. Like music or film, art exists to make you feel something, or think about something, or start a conversation you wouldn't otherwise have had. Sometimes that job is to sit quietly, giving a room room to breathe. Sometimes it's to stop someone mid-stride and make them feel something the rest of the interior can't say on its own. Getting that right takes more than technical skill: it takes reading the brief underneath the brief, understanding what the space needs to feel like, and what it needs to say. Even at the tightest end of a brief, a fixed space, a set of dimensions, the same thinking applies: the goal is a piece that feels designed for the room, not simply dropped into it.
Weigl founded his practice in 2003, following a Ceramics degree from Central Saint Martins. Belgravia Gallery became his first representation in 2007, followed by Woolff Gallery from 2009, who took his work to exhibitions across the world, primarily throughout the United States, including Art Miami. In 2012, he founded Blue Tomato Gallery, running it for several years alongside his own studio work, sourcing artists, taking client briefs on their behalf, and handling everything from logistics and insurance to international art fair placement, until closing it in 2015 to focus fully on his own practice. Within its first two years, Blue Tomato was personally invited to exhibit at Context Art Miami by Nick Korniloff, the fair's Executive Vice President and Director, an opportunity usually reserved for far more established galleries.
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