The daring and graphic installation, called “The End”, was presented on Thursday. It is the 13th work of art sitting in the fourth plinth as part of a continuous commission program, after the original statue that was intended to be there, of William IV, was never finished.
The latest 9.4-meter sculpture is the work of British artist Heather Phillipson, and will remain in the basement until the spring of 2022, according to a statement from the Mayor of London.
It is the highest of the 13 commissions in an ongoing series that began in 1998, after the plinth was left empty for more than 150 years. The winners are chosen by a panel of leading curators and artists, following public feedback.
“The End” is the tallest sculpture ever left on the plinth. Credit: Neil Hall / EPA-EFE / Shutterstock
It is maintained with a working drone, which will transmit a live stream.
The “Hahn / Cock” by German artist Katharina Fritsch was released in 2013. Credit: imageBROKER / Shutterstock
Presentation was delayed four months due to the coronavirus pandemic. And while the giant dessert can be seen as a cheerful gesture, it also looks like the sweet dessert can slowly melt as the fly and drone climb to its climax.
The play is “bold and disturbing,” according to Ekow Eshun, chairman of the Fourth Plinth Commission Group.
“It expresses some of the times we live in today, holding a conversation with the artistic and social history of Trafalgar Square,” Eshun said.
Marc Quinn’s sculpture “Alison Lapper Pregnant” was in the basement in 2005. Credit: Global warming / Shutterstock images
“When Heather’s job was selected two years ago, we could never have imagined the world we’re in today, but we always knew that this dystopian-flavored sugary whirlpool would spark a conversation,” said Justine Simons, deputy mayor of Culture and Creative. industries, in a statement.
Phillipson said his work is based on political and physical aspects of the plaza and the plinth.
The artist said he was honored for his work now sitting in Trafalgar Square, adding that he magnified “the banal and our coexistence with other life forms, in apocalyptic proportions.”
Yinka Shonibare’s “Nelson’s Ship In A Bottle” was introduced in 2010. Credit: Jonathan Hordle / Shutterstock
“The End” will replace the recreation of Lamassu by Michael Rakowitz, a protective deity who was destroyed in 2015 by Islamic State militants near Mosul, Iraq.