I have a strange relationship with Sarah Lucas’s Perceval (2006). I first encountered the work in my early teens, after my family moved to Suffolk. Garishly glossy and monumental, this life-size bronze replica of a horse and cart – the artist’s only public sculpture – has appeared across the globe, from Central Park in New York to Aspire Park in Qatar. However, my Perceval stood on the quiet grounds of Snape Maltings Concert Hall, not far from where Lucas herself now lives.
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