Ominous whipped cream art comes to London's Trafalgar Square

The End, by British artist Heather Phillipson, will stay in place until spring 2022.

A giant swirl of whipped cream topped with a cherry, a fly and a drone has become the latest artwork to sit atop Trafalgar Square's Fourth Plinth - the stage for a constantly changing series of artworks.

Ekow Eshun, chairman of the Fourth Plinth commissioning group, said the sculpture "expresses something of the fraught times that we're now living through while also standing in conversation with the artistic and social history of Trafalgar Square".

Modern artwork erected in Trafalgar Square needed to be inspected by a bird expert to ensure the sculpture's built-in drone propellers would not harm the landmark's famous pigeons.

Passers-by will be able to use their mobile phones to live-stream what the camera-equipped drone can see.

The 13th Fourth Plinth commission is the tallest so far - at almost 31ft (9.4m).

It follows the piece on from The Invisible Enemy Should Not Exist by Michael Rakowitz, who was chosen along with Ms Phillipson by the Fourth Plinth Commission Group following an exhibition at the National Gallery where 10,000 people voted on shortlisted artworks.

Heather Phillipson's work entitled THE END was unveiled yesterday on the platform which has been used to publicly exhibit eye-catching art since 1998, and the artist proclaimed the work explores issues of "cohabitation with other lifeforms".

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'It expresses something of the fraught times that we're now living through while also standing in conversation with the artistic and social history of Trafalgar Square, ' he said.

The Fourth Plinth commissions have seen many memorable works over the years, including Marc Quinn's sculpture of pregnant Alison Lapper, and Yinka Shonibare's scaled-down replica of HMS Victory, contained in a glass bottle.

"Obviously it's a odd time to be doing anything right now".

"For me, 2016 was quite an important political moment in the United Kingdom and other parts of the world", said Phillipson, noting that the year observed Brexit just happen and "there were rumblings in America of Trump getting elected". When I was thinking of this work there was a sense. of an undercurrent that was already there.

Phillipson told Reuters that she got the idea for the work in 2016, when Britain had just voted to leave the European Union and Donald Trump was campaigning for the US presidency.

"And I felt like something was on the verge of implosion, entropy, collapse". The pandemic. attunes them to a slightly higher frequency'.

"Culture is so important to our city, it's our DNA", said Justine Simons, Deputy Mayor of London for Culture, adding that "Before the pandemic it was worth 58 billion pounds to the economy and one in every six jobs here is a creative job".

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