The sculptor's vision
The setting
From the outset the form of the Monument was dictated by
the nature of the available space and by planning constraints
along the Embankment. When I first walked along the river between
Westminster and Hungerford bridges, my ideas about the future
Monument were, unbeknown to me, in harmony with these practical
restrictions. I observed a panorama of major architectural landmarks
on a grand scale: the Palace of Westminster, the old GLC building,
the Ministry of Defence building, the London Eye, etc. The river
walk is also awash with various sculpted monuments that look
great from a distance but that do not really bear close inspection.
What was needed here, thought I, was something on a human scale
that would offer the passer-by something rich in detail when
seen up close and not just another monolith to be admired from
afar, of which there are plenty already. The existing plinth,
being low and long, would serve my purposes precisely. It could
be used as a wall on which to tell the tale of the Battle of
Britain with a sculpted storyboard in high relief and which would
present itself to the viewer at eye-level, thus being accessible
to all ages and intimate rather than grand and distant. Having
been selected to produce the Monument, much to my delight, I
encountered Tony Dyson, the architect, who shared my interpretation
of the site, and who would enrich my original thoughts with his
own clear-sightedness.
Research
I proceeded to research the subject as thoroughly as possible
and during a three month period did nothing but read books, watch
films and interview veterans, with a view to being totally immersed
in the Battle. Of course, encountering the veterans meant not
only hearing of the extraordinary feats of courage from the lips
of pilots and gunners, but those other veterans, the aircraft
themselves, spoke volumes about the exhilaration and physical
challenge of 1940's air combat. The chance to fly with my RAF
namesake and Squadron Leader of the Battle of Britain Memorial Flight was too
good an opportunity to miss. An hour in the air with S/Ldr Paul
Day brought home to me with force just how physically trying
it was to sustain hard manoeuvring in the air, albeit without
the cannon shells flying around my ears.
The commemoration
The Monument is made up of two relief panels facing in opposite
directions. On the one I wished to commemorate the unique achievement
of Fighter Command and give the entire space over to telling
their story. On the other I wished to portray something of the
wider experience, of the Nation as a whole at war. The few thousand
pilots, gunners, ground crews and WAAF's are undoubtedly the
heroes of the hour, but I felt it important for future generations
to remember the other countless acts of self sacrifice and heroism
among the British people without which the RAF could not have
so well defended the Nation. I feel it important to add that
my desire has been to create a work of contemporary art and not
to adopt the manners of a previous period or style which has
so often been the case with public monuments in the past. Conservativism
is not the best way to give life to an historic subject in art.
The thing has to take on a life of its own if it is to speak
now and to future generations and not to look "past it"
from the beginning. The Battle of Britain is an epic moment in
History, but one of modernity where new technology was vital.
The Monument is not the representation of a tomb where hundreds
of thousands lie dead. It is the celebration of excellent organisation,
youthful enthusiasm, devotion to duty, and National unity. I
hope it will remind my generation of the hardship that was endured
by our grandparents to preserve the British people and their
traditions which could so nearly have been irrecoverably lost
to fascism
Paul Day
August 2005
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