The current plinth by artist Heather Phillipson, unveiled in 2020, and which will stay in place until spring 2022.
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The race for the next Fourth Plinth art installation at Trafalgar Square is closing in, with two out of six proposed artworks dominating public support.
A survey by pollsters YouGov has shown 53% of the public support Antelope by Samson Kambalu.
Close behind at 51% is Ibrahim Mahama’s On Hunger and Farming in the Skies of the Past 1957-1966.
Nicole Eisenman’s piece struggled to gain public popularity, with more than half of Londoners (53%) disliking The Jewellery Tree.
All six artworks are on display in the National Gallery until 4 July.
The Fourth Plinth has been occupied with artwork since 2005.
A specially erected commission, led by the Mayor of London’s Culture Team, began deciding what should feature in Trafalgar Square.
The current Fourth Plinth artwork is Heather Phillipson’s The End, includes a drone on top of a cherry, on a huge swirl of whipped cream.
The statue remains on the plinth until 2022, after which the new design will replace it.
Many believe the Fourth Plinth will see a permanent statue of Her Majesty Queen Elizabeth II erected.
The six proposals are:
‘Jewellery Tree’ by Nicole Eisenman: On this sculpture hangs an accumulation of “trinketry and mementos you might find on top of a dressing table”. Some of the items include Lord Nelson’s medals, and a plastic coffee lid.
‘Antelope’ by Samson Kambalu: This restages a 1914 photograph of Baptist preacher and pan-Africanist and European missionary John Chorley. Chilembwe died a year after the photo and his church ended up destroyed by the colonial police.
‘GONOGO’ by Goshka Macuga: A large silver rocket which represents “the dual relationship we have with each other, the planet or even nearby countries”.
‘On Hunger and Farming in the Skies of the Past 1957-1966’ by Ibrahim Mahama: The fourth sculpture idea takes inspiration from grain silos partly built by Easter European architects in Ghana during the early 1960s. The message explores “things that are forgotten or discarded”.
‘850 Improntas’ by Teresa Margolles: This sculpture features casts of the faces of 850 trans people, most of whom are sex workers. Trans communities will help created with plaster applied directly onto their faces.
‘Bumpman for Trafalgar Square’ by Paloma Varga Weisz: It depicts ‘Bumpman’, described as “a quiet anti-hero” with a “body [that] appears curious and distorted by organic swellings”. It is a design the artist has returned to often in her work.
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HeadlineTwo favourites in public vote for new Fourth Plinth in Trafalgar Square
Short HeadlineTwo public favourites in poll for Fourth Plinth
StandfirstSix international artists are shortlisted and models of their designs are being displayed at the National Gallery.
The race for the next Fourth Plinth art installation at Trafalgar Square is closing in, with two out of six proposed artworks dominating public support.
A survey by pollsters YouGov has shown 53% of the public support Antelope by Samson Kambalu.
Close behind at 51% is Ibrahim Mahama’s On Hunger and Farming in the Skies of the Past 1957-1966.
Nicole Eisenman’s piece struggled to gain public popularity, with more than half of Londoners (53%) disliking The Jewellery Tree.
All six artworks are on display in the National Gallery until 4 July.
The Fourth Plinth has been occupied with artwork since 2005.
A specially erected commission, led by the Mayor of London’s Culture Team, began deciding what should feature in Trafalgar Square.
The current Fourth Plinth artwork is Heather Phillipson’s The End, includes a drone on top of a cherry, on a huge swirl of whipped cream.
The statue remains on the plinth until 2022, after which the new design will replace it.
Many believe the Fourth Plinth will see a permanent statue of Her Majesty Queen Elizabeth II erected.
The six proposals are:
‘Jewellery Tree’ by Nicole Eisenman: On this sculpture hangs an accumulation of “trinketry and mementos you might find on top of a dressing table”. Some of the items include Lord Nelson’s medals, and a plastic coffee lid.
‘Antelope’ by Samson Kambalu: This restages a 1914 photograph of Baptist preacher and pan-Africanist and European missionary John Chorley. Chilembwe died a year after the photo and his church ended up destroyed by the colonial police.
‘GONOGO’ by Goshka Macuga: A large silver rocket which represents “the dual relationship we have with each other, the planet or even nearby countries”.
‘On Hunger and Farming in the Skies of the Past 1957-1966’ by Ibrahim Mahama: The fourth sculpture idea takes inspiration from grain silos partly built by Easter European architects in Ghana during the early 1960s. The message explores “things that are forgotten or discarded”.
‘850 Improntas’ by Teresa Margolles: This sculpture features casts of the faces of 850 trans people, most of whom are sex workers. Trans communities will help created with plaster applied directly onto their faces.
‘Bumpman for Trafalgar Square’ by Paloma Varga Weisz: It depicts ‘Bumpman’, described as “a quiet anti-hero” with a “body [that] appears curious and distorted by organic swellings”. It is a design the artist has returned to often in her work.
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