The leader of St Helens Council has firmly rejected claims that a prominent public sculpture in the area is an embarrassment, while acknowledging that local authorities could do more to promote the artwork. The controversy centers around "Dream," a massive 66-foot (20-meter) tall sculpture featuring a young girl's head gazing across the M62 motorway, which stands on the former spoil heap of the old Sutton Manor Colliery.
The sculpture has become a point of contention among a group of former miners who played a crucial role in bringing the giant artwork to the region. These ex-miners have voiced complaints that the sculpture can no longer be properly viewed from the motorway due to trees that have grown up around it, effectively blocking the view that once made it a distinctive landmark visible to passing motorists.
Council Leader Anthony Burns addressed these concerns during an interview with BBC Radio Merseyside, defending both the sculpture and its current setting. "It isn't an embarrassment - it's a fantastic achievement for the ex-miners and the borough," Burns stated emphatically. He argued that the sculpture's partially hidden location among the forest vegetation was actually part of its intended design appeal, explaining that being "hidden" in the forest was all part of its charm.
Burns further claimed that it was always the original intention of artist Jaume Plensa for the sculpture to be somewhat concealed within its natural surroundings. According to the council leader, Plensa designed it so that "it was always meant to be hidden, and as you walk up, it appears within the trees." The BBC has reached out to Plensa for comment to confirm this interpretation of the artist's original vision.
The council leader also expressed practical safety concerns about making the sculpture more visible from the busy M62 motorway. Burns said he did not want drivers to be distracted by the artwork, particularly if it were to be illuminated at night, which could pose a traffic safety hazard. This consideration appears to factor into the council's approach to managing the sculpture's visibility.
Despite defending the current situation, Burns acknowledged that there was room for improvement in how the sculpture is promoted and accessed by the public. He said the council "could do more to promote it" and expressed willingness to "happily support anyone" who developed a viable business plan to bring amenities such as a café and toilet facilities to the site. However, he made it clear that such improvements were not something the council could afford to fund independently.
Richard Topley, representing Forestry England which manages the land surrounding the public artwork, provided additional context about the sculpture's forest setting. He confirmed that "the sculpture was always conceived" to be positioned "within a forest, and the trees naturally will grow around it." Topley emphasized that this immersion in the natural environment gives the sculpture "quite a unique setting" that enhances its artistic impact.
However, Topley also acknowledged the legitimate concerns raised by those who feel the sculpture has become too hidden from public view. He indicated that Forestry England would explore ways to open up some new sightlines to the artwork. Looking toward future forest management, Topley explained that "as the forest gets older and we thin it - which is taking out some of the unwanted trees - you'll start to get a different view of it from different places as well, which actually might show off more of the structure, intermingled with this tree backdrop that it sits nicely in."
The ongoing debate reflects broader questions about public art accessibility, artistic vision, and community expectations. While the sculpture remains a significant cultural landmark for the St Helens area and a tribute to the region's mining heritage, the discussion continues about how best to balance artistic integrity with public accessibility and safety considerations.
