Tschabalala Self’s sculpture, Lady in Blue, has been installed on the fourth plinth in London’s Trafalgar Square. The fourth plinth, a prominent public art space, has hosted a variety of contemporary artworks since the 1990s. Lady in Blue is described as one of the most striking pieces to occupy the plinth, drawing inspiration from the original structure, which was built in 1841 for a statue that was never completed. The sculpture features a figure with bold, curvaceous forms, depicted in a confident stride, wearing platform shoes, and radiating a strong, physical presence. It is also inspired by the work of Italian futurist artist Umberto Boccioni, particularly his famous sculpture Unique Forms of Continuity in Space, which captures motion and modernity. Self’s figure, however, is stretched vertically, emphasizing both movement and presence. The surface of Lady in Blue has a glossy, reflective quality that shimmers in the sunlight, giving it the appearance of being coated in nail varnish. The sculpture’s color palette combines a rich brown with a deep, heavenly blue, reminiscent of lapis lazuli, a rare blue mineral historically mined in Afghanistan. This blue is also linked to ultramarine, a pigment once used by renowned painters, including those whose works are displayed in the National Gallery, which stands just behind the sculpture. The piece is described as having a bold, almost provocative allure, but unlike many traditional Western sculptures, it does not appear vulnerable or passive. Instead, it exudes a powerful, self-assured presence, striding confidently through space and facing the National Gallery with a flamboyant, commanding stance. Lady in Blue also draws on African artistic traditions, particularly in its use of form and expression. The figure’s head is said to reflect the beauty and elegance of bronze sculptures of medieval queens from the Ife kingdom in present-day Nigeria. This connection to African heritage adds depth and cultural richness to the piece, especially in a time when issues of diversity and equality are at the forefront of public discourse in the UK. The sculpture was unveiled in the wake of political tensions, including marches by supporters of Tommy Robinson, who advocate for a white nationalist vision of the country. In contrast, Lady in Blue is seen as a celebration of multiculturalism and a response to the anxieties of the modern world. Described as a "carnivalesque masterpiece," Lady in Blue brings together various art histories—African, Western, and modernist—in a vibrant, playful way. It fills the fourth plinth with energy, humor, and a sense of life, offering a bold statement about identity, movement, and the richness of human experience. The sculpture invites viewers to engage with it not just as an object of admiration, but as a symbol of resilience and celebration in an ever-changing world.