Tate Britain

Eva Rothschild stated that her commission for the Duveen Galleries at Tate Britain was intended to ‘agitate’ the space. The long, winding, angular projections of the sculpture scribble through the space, and although the work does contrast with the ornate grandeur of the Duveen Gallery, its playfulness overrides any confrontational intention.

Twining among the classical architecture, the glossy black aluminium draws your eye through the space; to corners, edges, floor and ceiling. The surface exposes the audience as the form exposes the space – the linear construction draws your eye to architectural details not normally emphasised to the visitor, the glossy surface offers gleams and reflections, while scuff marks and traces of construction allude to the peculiar relationship of the work to visitor and maker.

Erected only on site, Cold Corners feels like a sketch of a space – a narrative in perspective and of the artist’s consideration of the architecture of the gallery. The lightness of the structure juxtaposes with its scale as the harsh black line develops a delicacy and playfulness as it winds around the gallery. Weaving in and around the architecture, normal gallery conventions are set aside as the viewer is drawn into the work to interact with the structure – a light refreshment in the reverential air of the Tate Britain.

Rothschild’s work occupies the Duveen Galleries with wit and intrigue. Leading and engaging the viewer through the length of the space, this work is a friendly and joyfully passive aggressive welcome to the Tate Britain.