Tschabalala Self embodies a spirit of unwavering positivity and optimism. The American artist is eagerly anticipating the reveal of her latest sculpture, Lady in Blue, which will be displayed on the fourth plinth in Trafalgar Square, London. This towering bronze piece, vibrantly painted, portrays a black woman confidently moving forward into the future. Self’s hopeful outlook regarding this new work is especially notable given the challenges faced by her previous public sculpture in the UK. “Yes,” she remarks during a conversation from her residence in upstate New York, “it was an entirely racist act.”
In 2022, Self debuted her sculpture Seated at Coal Drops Yard in King’s Cross, London. Similar to Lady in Blue, it featured a large, brightly painted bronze figure of a black woman, this time elegantly seated. After its initial display at Coal Drops Yard went smoothly, the piece was relocated to the De La Warr Pavilion in Bexhill-on-Sea, where it encountered a much less welcoming response. “Within the first week,” Self recounts, “it was spray-painted white, specifically targeting the skin of the sculpture.” This act of vandalism stood out for its blatant racism. “My initial reaction was one of pain,” she explains, “that my sculpture, which I had infused with love and care, had been subjected to violence.”
In response to the vandalism, the Pavilion considered organizing a protest, but Self advocated for a community cleanup event instead. “I thought that would provide a more healing experience, as many people were outraged.” Hundreds of individuals came together to participate, successfully removing all the paint by the end of the day, leaving no work for the restorers. “This wasn’t my first encounter with racism,” Self admits, “but it was the first time my sculpture had been defaced.”
Born in 1990 in Harlem, New York, Self has carved out a unique niche in the art world with her distinctive style of collaged pop figuration and political commentary. Her works are part of prestigious collections, including MoMA, the Guggenheim, and the Whitney in New York, as well as the Albertina Museum in Vienna. She has exhibited at the Hammer Museum in Los Angeles and the ICA Boston, and is represented by some of the most fashionable commercial galleries. Her art is a vivid, joyful celebration of everyday human experiences, reminiscent of the iconic French pop modernist Niki de Saint Phalle, known for her vibrant “Nanas.”
Self often speaks with this kind of positivity and optimism, addressing themes surrounding bodies and “vessels” with a sense of confidence. “Simply being a person,” she asserts, “is an act of dignity. It takes courage to exist as a human being, and that is something to be valued.”
This empowering and hopeful narrative somewhat contrasts with the more critical, conceptual works that have occupied the fourth plinth in recent years. How does Lady in Blue relate to Teresa Margolles’s wall of life-masks representing transgender and non-binary individuals, which it will replace, or Samson Kambalu’s anti-colonialist portrayal of the Pan-African preacher John Chilembwe from 2022? In comparison, Self’s work appears refreshingly simple and joyful. Where is the critique, the anger, or the radicalism that has become expected in contemporary art?
Self argues that the combination of joy and simplicity is, in fact, a radical statement. “Consider a designer,” she explains. “Creating something that is both simple and functional is often seen as the pinnacle of conceptual achievement. Yet, in fine arts, simplicity is frequently dismissed as lacking depth.”
As a result, Self embraces clarity in her work. “If an artwork fails to resonate with a diverse audience across various educational, class, and racial backgrounds, then that reflects more on the creator than the viewer. A strong piece of art should be accessible to those who encounter it. This is part of what makes a great artist.”
When discussing Self’s art, many highlight its celebration of black bodies. Does she think this perspective is overly simplistic given her broad message? “Yes, it is reductive and quite limiting. While my figures are often described in that manner, it overlooks a deeper meaning. They are black because they represent my own physical experience, but they are intended to symbolize a universal human experience that transcends racial identity.”
Self wishes for Lady in Blue to be recognized as a universal figure. While viewers have long accepted Antony Gormley’s use of his own body as a representation of humanity, the notion that a black woman could embody an “everyperson” is still “a significant intellectual hurdle for many,” she reflects. “One of my initial intentions was to portray the figure as a woman. If people struggle to identify with her because she is black, that reveals a broader societal issue that needs to be addressed.”
Some of this examination was prompted by the vandalism of her work at the De La Warr Pavilion, but the impact of that event may still linger over her new project. The fourth plinth is situated not in a small seaside gallery but in one of London’s most iconic public squares, attracting a much larger audience with diverse opinions. Is she apprehensive?
“I’m prepared for a wide range of reactions. I’m not naive,” she concludes.
