“Artists are so bizarre and come from such strange places”: Glenn Ligon interview below

Rachael Champion, Naturally Occurring  Brutalist Structure (2013)

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An observation: spheres of Perspex and pea shingle have gravity in the same way that planets do. This piece by Rachael Champion has neither colour nor much visual stimuli, yet it has pull.

Taken in isolation, gravel, pebbledash, and industrial tiling are unlovely things. And no one could argue this sculpture has much conventional beauty. But, along with presence, it has something else.

Perhaps what it has is, despite the title, is a tangle with nature. In a tiled surround like this you might expect to find a tree, a shrub, even a piece of topiary. But here we have a man-made boulder.

Were you taking a cigarette break outside the glass atrium of your office block, you would not even know this was a sculpture. Even if you noticed it, my guess is it would non-plus most people.

You wouldn’t even think to vandalise it, let alone steal it. And for this reason if for no other, Champion has solved a couple of perennial issues with public art, if art it really be.

Mind you, the title also suggests we consider this a piece of architecture, a brutalist structure no less. And indeed this piece overwhelms in the same way as, say, the Brighton Centre.

That’s no mean feat for something about 4ft cubed. Champion’s piece threatened to dominate the recent show in which she was included, like a bull in a china shop, or a noisy piece of construction.

And there’s a kind of righteousness about the work of a builder. He or she (usually he) feels no need to justify what they do, not even when they wake you at 8am on a Saturday.

Every project completed, no matter how ugly or beautiful, has a clear use and a value agreed upon in advance. If artists like Champion want some of that, who can blame them?

Naturally Occurring  Brutalist Structure was in Trade at pop up gallery Castor Projects between 29/08 and 10/09. See more by the artist on her website.



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