Since the 1960s, Phyllida Barlow has produced a unique and dynamic body of work focused on the investigation into materiality, form, and process in the wake of the minimalist and post-minimalist art movement of the 60s and 70s. Counter to reductive, hard-edged, and industrially-manufactured works, Barlow works in a material expansiveness that creates massive organic shapes and accumulations that relate directly to the urban environment.

The humorous sadmonumentblack triggers associations with Constantin Brancusi's Endless Column, while referencing the "historic monument," which in this case ironically commemorates neither a powerful individual nor an important historic event. 

Source: News, Jan Fen Mar 2014