Simone Leigh’s London Exhibition: More Than Just Clay – A Warning and a Warm Embrace
London – Get ready, London. Simone Leigh, the US artist who made history at the Venice Biennale and now carries a weighty mantle of social commentary, is bringing a monumental new exhibition to the Royal Academy in September 2027. But this isn’t simply a retrospective; it’s a deeply considered exploration of architectural legacies, fascist artistic production, and, crucially, Leigh’s tangible connection to the UK through her Jamaican heritage – a connection increasingly relevant to the anxieties swirling around American democracy today.
Leigh’s rise has been remarkable, a quiet storm of artistic brilliance that’s suddenly become a deafening roar. After her Venice victory in 2024, a prize quickly overshadowed by a growing sense of unease in the US, Leigh has increasingly positioned herself as a critical voice, directly confronting the erosion of democratic institutions. And let’s be clear: she’s not pulling punches. Her recent observations, likening the current state of affairs to the McCarthy era, fueled by a chilling similarity to the suppression of dissent seen at Columbia University, are sparking conversations we desperately need to be having.
From Chicago Roots to Clay and Confrontation
Leigh’s journey isn’t just about political statements; it’s rooted in a remarkably diverse upbringing. Raised in Chicago, influenced by her evangelical father, she ultimately found her voice through art, forging a path that led her to collaborate with ceramicists in Virginia and, crucially, to deeply explore her Jamaican ancestry. This dual heritage – the American preacher and the British subject – informs everything she does, and London’s exhibition promises to delve into this layered identity with striking depth.
The exhibition, curated in collaboration with longtime collaborator Rashida Bumbray and featuring a yet-to-be-announced UK curator, will build on existing pieces like Brick House (2019) – an imposing terracotta sculpture that captivated audiences on the High Line and found its way into The Milk of Dreams – and recent works like Bisi (2023) and Untitled (2023-24), currently on display at the Turner Contemporary in Margate. But don’t expect a straightforward display.
Loophole of Retreat: Expanding the Dialogue
Leigh isn’t just a sculptor; she’s a community builder. Her ongoing Loophole of Retreat events – initially launched at the Venice Biennale and most recently at the Guggenheim in New York – demonstrate a commitment to fostering critical dialogue. These events, featuring speakers like Lorraine O’Grady, delve into Black feminist thought, post-colonial theory, and the very act of resistance through art and performance. The third installment, moving to London and promising a new generation of UK-based voices, suggests a deliberate effort to broaden the scope of her investigations.
Recent Developments – More Than Just a Show
It’s worth noting that Leigh’s influence extends beyond gallery walls. Her work has been increasingly integrated into public spaces – think Brick House on the High Line – demonstrating a desire to engage with broader audiences and challenge traditional notions of where art belongs. Furthermore, there’s been a growing interest in her unique process – often casting clay and then utilizing bronze – as a commentary on material permanence and the enduring nature of history.
Most recently, she’s been involved in a collaborative project with the fashion house Loewe, designing a series of ceramic pieces for their upcoming collection, further blurring the lines between art and commerce and forcing us to consider the value and significance of handcrafted objects in a hyper-digital landscape.
The Warning Sign?
Leigh’s anxieties about American democracy aren’t just artistic musings. They’re a reflection of a palpable fear shared by many, particularly among younger generations. The echoes of the McCarthy era, coupled with the perceived complicity of institutions during the Trump administration, are undeniably unsettling. This exhibition, therefore, feels less like a celebration of artistic achievement and more like a pointed warning – a plea for vigilance and a reminder of the fragility of freedom.
But amidst the concern, there’s something profoundly hopeful about Leigh’s work. It’s a commitment to honoring the past, understanding the present, and building a future where artistic expression isn’t silenced, but amplified. The Royal Academy exhibition promises to be a significant moment, not just for Leigh’s career, but for our collective understanding of art’s role in times of profound uncertainty. We’ll be watching – and listening – very closely.