The American artist revealed her first public artwork with digital platform Avant Arte, which will explore ideas around taking up space in the public realm
Photography courtesy of Avant Arte, Christian DeFonte, featuring Tschabalala Self in her studio with her new limited edition, Seated Bronze, 2022
Furthering its mission to make art more accessible, Avant Arte, a digital platform for collectible arts, has joined forces with American artist Tschabalala Self to unveil Avant Arte’s first ever public artwork in the heart of London’s shopping and dining hotspot, Coal Drops Yard.
Partnering with King’s Cross to deliver its first public art programme, it builds on the company’s ethos of democratising art and supporting artists and their boundary-pushing works that aren’t afraid to challenge the status quo.
Inspired by Self’s current body of work, which focuses on domestic space and trappings, the duo unveiled a large bronze sculpture of a seated figure, bringing her exploration of the domestic into the public realm and exploring the significance of taking up space and taking a seat.
Photography courtesy of Avant Arte, Lucy Emms, featuring Tschabalala Self, Seated, 2022
Renowned for her depictions of Black female figures using paint, fabric, and discarded pieces of her previous works, Self’s work explores the emotional, physical and psychological impact of the Black female body as icon, and is primarily devoted to examining the intersectionality of race, gender and sexuality.
‘I’m really looking forward to seeing how audiences will respond and engage with this work – my first static public artwork and first time working at this scale,’ says Self. ‘I wanted to reference the quotidienne with this sculpture: choosing the act of taking a seat as a daily, universal gesture of leisure and calm.’
‘I wanted to create a monumental sculpture for the public, in a public space, that spoke to this simple joy whilst acknowledging the power such a simple gesture can have in asserting one’s right to take up space in this realm.’
Photography courtesy of Avant Arte, Lucy Emms, featuring Tschabalala Self, Seated, 2022
The eye-catching and beautifully bold sculpture has landed on the northern gateway to Coal Drops Yard on Lewis Cubitt Square. It will be accompanied by online and offline programming that will delve into Self’s practice, opening it up to new audiences, and enabling art’s democratisation by reimagining public spaces.
Two editions encompassing 25 bronze sculptures and 12 silk screen prints will also be released by Avant Arte. Pilar Corrias will present a solo exhibition by Tschabalala Self, entitled Home Body across its Savile Row and Eastcastle Street galleries from 6 October to 17 December 2022.
‘We’re thrilled to be bringing this incredible installation by one of the world’s most exciting artists to Coal Drops Yard this autumn,’ adds Gemma Rolls-Bentley, Chief Curator, Avant Arte.
Photography courtesy of Avant Arte, Christian DeFonte, featuring Tschabalala Self in her studio
‘Our mission is to make art radically more accessible, so to be able to bring art into the very pathways people use every day is a natural progression for us – we invite everyone to join us in King’s Cross from October and discover what is only the beginning of a dynamic, diverse arts programme.’
Bringing art to a new global generation, Avant Arte supports emerging artists to break new ground and to create memorable public interventions. By bringing the company’s first-ever commission of public art to King’s Cross, the project not only amplifies the neighbourhood as a cultural destination, but it also highlights the role public art plays to build community cohesion.
‘We are delighted to have partnered with Avant Arte for their first ever public art programme,’ says Anthea Harries, Asset Management Director at King’s Cross. ‘This partnership supports our continued commitment to deliver outstanding art and culture for everyone who lives, works and visits King’s Cross. We are proud to be launching this programme with artist Tschabalala Self and bringing her work to the audiences of King’s Cross.’
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