In the world of art, there are masterpieces that leave us in awe, those that fall short, and then there are those that baffle us – and the recently unveiled bronze statue of Princess Diana by Ian Rank-Broadley falls firmly into the latter category. Nestled within the Sunken Garden at Kensington Palace, Diana’s former residence in London, this sculpture has raised eyebrows for its unsettling portrayal, reminding us of previous artistic missteps like the infamous Cristiano Ronaldo bust or the George Best statue.
This rendition of Diana seems to miss the essence of the iconic princess, failing to capture her elegance and beauty. Frozen in a material, albeit cold, gesture that portrays her protecting two children (with a third child concealing itself behind her), Diana appears formal and uncharacteristically stiff. One cannot help but wonder if her kindness, strength, and humanitarian spirit might have been better conveyed had she been memorialized in action, perhaps walking through a metaphorical minefield akin to the challenges she faced within the royal family.
While we may never know, this statue raises broader questions about the role of modern sculptures. Can they evolve beyond cold depictions and incorporate the passion, sensuality, and beauty found in classical art? Perhaps the answer lies in the works of Pierre Huyghe, whose art bridges the biological and technological realms, creating immersive environments in constant flux.
In 2017, Huyghe introduced “Exomind (Deep Water),” a development of a sculpture inspired by Max Weber’s reclining female nude, displayed initially at Documenta 13 in Kassel. “Exomind” features a crouching woman with her head covered by a beehive housing a thriving colony of industrious bees. This thought-provoking sculpture found its place in the permanent garden environment created by the artist at the Dazaifu Tenmangu shrine on Japan’s Fukuoka Island. Additionally, replicas of the sculpture graced exhibitions and events, including the recent “Uncanny Valley: Being Human in the Age of AI” at the Young Museum in San Francisco.
The title of the exhibition aptly aligns with the statue’s eerie appearance: a human figure with a beehive-covered head initially seems otherworldly, leaving viewers puzzled about the creature’s identity. Huyghe’s artwork carries numerous metaphors; it reminds us that preserving bees can save our planet and serves as a metaphor for complex neural networks within biological brains, emphasizing natural forms and processes. The bees’ pollination work signifies intricate neural networks, while their wax and honey production serves as a testament to the vitality of ideas transformed into tangible creations.
Though it may seem drastic and surreal to cover modern statues we dislike with beehives, it could serve as an entertaining and poignant reminder of bees’ critical role in the cycle of life. In Diana’s case, it would be especially poignant; she, once a princess, would be remembered as a resolute and determined queen bee after her life—an embodiment of strength and purpose.
