The Line: Where East London’s Waterways Became an Open-Air Gallery
A free public-art route links Stratford and Greenwich, bringing contemporary sculpture, local history, nature and community programmes into the everyday landscape.

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A gallery measured in miles
The Line calls itself London’s first dedicated public-art walk. It runs between Queen Elizabeth Olympic Park and The O2, following the Greenwich Meridian through Newham, Tower Hamlets and Greenwich. The route is not a building with a trail attached; the changing industrial and natural landscape is part of the exhibition.
Sculpture, film, sound, performance and temporary commissions appear beside tidal water, working infrastructure and new development. The route asks visitors to look at art and then keep looking: at a dock edge, a patch of reeds, a view across the Thames.
Free to enter, impossible to contain
Walking the full route takes roughly four hours, according to The Line, excluding two paid transport connections. The art programme is free. Visitors can take it in as one long movement or return to individual sections as the weather, tide and season change.
That openness changes the audience. There is no threshold that requires someone to decide they are “going to a gallery.” A person commuting, cycling or spending time by the water can encounter a work without planning to.
Interpretation beyond the sign
A digital guide on Bloomberg Connects adds artist audio, route narration and mindfulness material. The project also runs engagement work around learning, wellbeing and employability. Its partnership with the National Portrait Gallery and London College of Fashion, for example, has worked with East London students.
These layers make the project more than a line of objects. The route becomes a framework for people to interpret a changing part of the city and to see themselves as participants in its cultural life.
A London project that behaves like London
The Line was co-founded by Megan Piper and Clive Dutton and first built momentum through a 2014 crowdfunding campaign. Its ongoing form remains appropriately unsettled: loans move, commissions arrive, paths divert and construction redraws the background.
That instability is a strength. Instead of freezing East London into a heritage image, The Line gives the present city room to remain unfinished.