Interview “Sculpture Is Always an Experiment”: Sarah Carrington on Taking Art Outdoors
The Line gives this work a physical route through East London. Extending 7.7km from The O2 to Queen Elizabeth Olympic Park, it follows the waterways and Greenwich Meridian, with 24 installations encountered along the way, including works by Antony Gormley and Zineb Sedira. Around the outdoor exhibition sits a wider programme of wellbeing and learning with local communities, while the Youth Guides programme offers paid training and employment to young East Londoners. Carrington’s work also extends to the slower, less visible business of commissioning: months spent between artists, fabricators, partners and landowners before a new work finally enters the landscape.
This week, The Line joins the Fourth Plinth, East Bank, Frieze Sculpture and Sculpture in the City for the fifth edition of London Sculpture Week. The citywide programme encompasses events and encounters with sculpture across London, including a symposium at the Warburg Institute exploring what monumentality might mean today. In the midst of it all, The Wick caught up with Carrington to talk about how public art can reach people beyond the gallery, what it takes to realise ambitious work outdoors, what lies ahead for The Line and the artists she would love to bring to the route.
THE WICK: What does a typical Monday look like for you?
Sarah Carrington:
Mondays start early so I can get ahead of things before the week gets fully underway.
I have a busy house at home, so I like finding quiet moments before people appear, and then I head into the office at Here East, close to the V&A Storehouse. I use my journey to prepare for meetings and the day ahead. For The Line team, Mondays are a day to spend together in person, and we have a weekly meeting to help us shape and plan the week. I regularly host walks on The Line for prospective artists, partners or patrons – I love seeing the route through fresh eyes, and no one visit is the same, depending on the weather, tides and season. I am very lucky to have walking and talking as a key part of my workday. I might end the day by going to an event. Even if I’m tempted to head home, I know that I always love the opportunity to see work and connect with colleagues old and new, so it’s always worth making the most of opportunities.
TW: You joined The Line in 2019 and became Director last year. What is The Line and why is it vital?
SC:
The Line is East London’s 7.7km public art trail following the waterways and the Prime Meridian, from the O2 to Queen Elizabeth Olympic Park. It includes 24 art installations, sculptures ranging from totemic forms with immersive audio to illuminated text on a film studio wall, by artists as varied as Antony Gormley, Madge Gill and Zineb Sedira.
Our purpose is to democratise access to art and create opportunities for creativity, learning and wellbeing through connecting with art outdoors for free. The Line is a unique experience in London where people can see and interact with art outdoors by leading artists for free year-round.
This resource is vital, as we enhance wellbeing, increase learning and provide professional opportunities for young people. We know from people we work with and visitors to The Line that our programmes have changed the way they think and feel, not just about art, but about the area and themselves.
“Our purpose is to democratise access to art.”
