For the inaugural High Line Plinth commission, Simone Leigh presents Brick House, a sixteen-foot-tall bronze bust of a Black woman. The torso is a combination of the forms of a skirt and a clay house. The figure will stand tall and monumental atop the Plinth, gazing resolutely down 10th Avenue.
Photo: Timothy Schenck
For the inaugural High Line Plinth commission, Simone Leigh presents Brick House, a sixteen-foot-tall bronze bust of a Black woman. The torso is a combination of the forms of a skirt and a clay house. The figure will stand tall and monumental atop the Plinth, gazing resolutely down 10th Avenue. Brick House‘s head is crowned with an afro framed by cornrow braids along the hairline that extend into four braids, each ending with a cowrie shell. The domed shape of the shoulders and bust are adorned with a pattern of elongated ridges. Brick House is the first monumental work in Anatomy of Architecture, Leigh’s continuing series of sculptures that combine architectural forms from regions as varied as West Africa and the American South with the human body. The sculpture references numerous architectural forms: Batammaliba architecture from Benin and Togo; the teleuk of the Mousgoum people of Cameroon and Chad; and the restaurant Mammy’s Cupboard in the southern U.S. All three references inform both the formal elements of the work—the conflated image of woman and architecture—and its conceptual framework.
Photo: Timothy Schenck
Leigh’s Brick House will be centered on the Spur, standing in sharp contrast to the disparate elements of the immediate architectural landscape. The Plinth is the focal point of the Spur, a site whose architectural and human scales are in constant vertiginous negotiation, surrounded by a competitive landscape of glass-and-steel towers shooting up from among older industrial-era brick buildings. In this space, Leigh’s magnificent Black female figure challenges visitors to think more immediately about the architecture around them, and how it reflects customs, values, priorities, and society as a whole.
Simone Leigh works across sculpture, video, installation, and social practice, stitching together references from different historical periods and distant geographical locations. In her densely researched practice, Leigh focuses on how the body, society, and architecture inform and reveal one another. In tandem, Leigh examines the construction of Black female subjectivity, both through specific historical figures such as Josephine Baker and Katherine Dunham, and more generally through overlapping historical lineages across Europe, Africa, the U.S., and the Caribbean. Her intersectional practice draws on a range of disciplines, including the history of architecture, ethnography, feminist discourse, folklore, dance, and histories of political resistance. For Leigh, “architecture is a text that we can read to understand the ontological, philosophical, and psychological expressions of a culture.”
Simone Leigh, Brick House
June 2019 - September 2020
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