THE GUARDIAN
By Clarissa Sebag-Montefiore
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| ‘I’m always looking over my shoulders, I’m always concerned,’ Cave says, of race-related gun violence in America – a theme of his latest work, Until. Photograph: Carly Earl for the Guardian |
Peering through the vast glass windows at
Nick Cave’s latest installation in Sydney feels festive: like staring at an elaborate Christmas display in a posh London department store. Yet get closer and you notice that guns are imprinted on to some of the 16,000 wind spinners. There are also bullets. And on the walls the images of lawn jockeys, the racially charged statues that Americans once put in their yards as hitching posts, are grinning grotesquely.
Until is Cave’s most ambitious work to date, and the largest work to ever be installed in
Carriageworks. It may look like an old-fashioned sweet shop or an enchanted forest, but its commentary is much darker: Cave is protesting gun crime and, in particular, the black victims of police violence. [
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| Nick Cave describes his famous Soundsuits as liberating: ‘it hides gender, race, class ... it’s about getting outside of yourself.’ Photograph: Carly Earl for the Guardian |
