The Rampant Lions of Workum

For centuries Workum’s city arms on ‘De Waag’ have been supported by two lions. They are naive and their theatrical pose prompts laughter. But as Workum’s fountain, firmly on the ground, more than life-size, they are no longer figures, but protagonists. At a distance from each other they spray water at each other like fierce fighting cats. They seem to be calling out: ‘Look at Workum’. Because without the coat of arms between them, the empty space suddenly offers a view of the vibrant reality of the city itself.

Cornelia Parker

Cornelia Parker (1956) draws great pleasure …

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The Rampant Lions of Workum

For centuries Workum’s city arms on ‘De Waag’ have been supported by two lions. They are naive and their theatrical pose prompts laughter. But as Workum’s fountain, firmly on the ground, more than life-size, they are no longer figures, but protagonists. At a distance from each other they spray water at each other like fierce fighting cats. They seem to be calling out: ‘Look at Workum’. Because without the coat of arms between them, the empty space suddenly offers a view of the vibrant reality of the city itself.

Cornelia Parker

Cornelia Parker (1956) draws great pleasure from blowing up, duplicating, stretching or shattering daily objects and well-known images from art and culture, as a kind of act of liberation. Because in creating large-scale sculptures or installations in this way, the old and familiar get a new meaning, with a hint of British humour into the bargain. Parker works intensively with others.

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