The unveiling of a new statue in London’s Leicester Square, celebrating Daniel Kaluuya’s iconic role in “Get Out”, has become a focal point of public discourse. Part of the “Scenes in the Square” initiative, which already features cinematic icons like Harry Potter, Mary Poppins, and Mr. Bean, Kaluuya’s inclusion highlights his stature within British cinema and his rising influence on the global stage. Yet, the choice of scene—Kaluuya’s character Chris Washington falling into the ‘Sunken Place’—has ignited debate about whether this particular moment is the best representation of his achievement and the film’s legacy.

Contextualizing the Statue: An Honor Long Overdue

Daniel Kaluuya’s statue is a significant addition to a series that aims to memorialize pivotal moments and characters from over a century of cinema. As one of the few Black British actors to be immortalized in this way, Kaluuya’s presence in Leicester Square underscores his importance to contemporary cinema. The actor, born in Camden, London, has had a career marked by versatility and success, from his early days in the BBC’s “Skins” to his Oscar-winning performance in “Judas and the Black Messiah”.

Kaluuya expressed his gratitude and humility during the statue’s unveiling, noting how surreal it felt to see his work memorialized in a place he frequented while auditioning early in his career. As he described it, Leicester Square holds personal significance as it was a common lunchtime spot between auditions and a place that represented both aspiration and resilience for him. The statue thus feels like a full-circle moment for Kaluuya, celebrating not only his contributions to cinema but also his roots and journey as an artist.

The “Sunken Place”: An Iconic Scene with a Complex Legacy

The chosen scene—the ‘Sunken Place’—is a potent visual from “Get Out”, Jordan Peele’s 2017 directorial debut that redefined the psychological horror genre. The film, which blends social commentary with suspense, follows Chris Washington, a Black man, as he navigates a chilling weekend with his white girlfriend’s family. The ‘Sunken Place’ scene, where Chris is hypnotized and trapped in a metaphorical abyss, has become a symbol of racial oppression and powerlessness. The moment is charged with significance and has sparked discussions on its broader metaphorical applications.

However, the selection of this particular scene for the statue has raised eyebrows. While the ‘Sunken Place’ is indeed a memorable and visually arresting sequence, some argue it does not encapsulate Kaluuya’s full impact in the film. Social media responses have highlighted that a more fitting tribute might have depicted Chris in his most emotionally resonant moment—sitting in an armchair, tears streaming down his face, as he silently fights against the mind control being exerted over him. This image, many argue, captures the essence of Kaluuya’s masterful performance: his ability to convey terror, defiance, and pain with minimal dialogue.

A Scene Open to Interpretation

Part of the contention around the ‘Sunken Place’ statue is tied to the scene’s complex symbolism. In “Get Out”, the ‘Sunken Place’ is where Chris’s consciousness is submerged, leaving him physically paralyzed and subject to manipulation. It represents a state of forced passivity, a chilling metaphor for the systemic suppression of Black voices. Critics argue that memorializing this moment could unintentionally reinforce the very powerlessness it seeks to critique.

On social media, reactions ranged from praise to skepticism. One user remarked, “It should have been him in the chair instead,” while another commented, “Being immortalized falling into the sunken place is crazy.” These critiques point to a broader conversation about how Black characters and their experiences are represented in public art and media. While the ‘Sunken Place’ is a visually compelling and narratively significant moment, some worry that its emphasis might overshadow other aspects of Chris’s character and journey.

The Role of Public Art in Shaping Narratives

Public art, especially statues and monuments, plays a crucial role in shaping cultural narratives. The decision to include Kaluuya’s character in Leicester Square speaks to his significance as a trailblazing actor and the importance of “Get Out” in challenging and redefining genre conventions. Yet, it also invites scrutiny: what narratives are being foregrounded, and which are being left out?

The ‘Sunken Place’ statue could be seen as a double-edged sword. On one hand, it memorializes a film that tackled racial dynamics in a fresh and unsettling way, using horror to delve into uncomfortable truths about social hierarchies and exploitation. On the other hand, it risks flattening the film’s complexity by focusing on a single moment of powerlessness, potentially obscuring Chris’s eventual resistance and survival.

In this light, the statue can be read as both a celebration of Kaluuya’s role in bringing such a challenging character to life and a reminder of the ways in which representations of Blackness in media often orbit around trauma and struggle. The statue, then, becomes a site of contestation—a space where admiration and critique coexist.

Artistic Intent Versus Public Perception

The statue’s creators have defended the choice, highlighting the collaborative process with Kaluuya and the intention to create a piece that feels dynamic and true to the film’s impact. Sally Regis, director at creative company 3D Eye, emphasized that Kaluuya was involved in the statue’s conception. They wanted to capture the emotional weight and movement of the ‘Sunken Place’ scene, which has become synonymous with the film’s commentary on race and identity.

Yet, artistic intent does not always align with public reception. The Independent’s film critic, Clarisse Loughrey, noted in a 2019 article that the ‘Sunken Place’ has transcended its narrative function in “Get Out” to become a broader metaphor used in cultural discourse. It describes not just the literal experience of Chris in the film but also a state of complicity and helplessness imposed upon marginalized individuals. This added layer of meaning makes the scene both powerful and contentious as a choice for a statue, as it risks being misinterpreted or even trivialized in its new, static form.

The debate around the Kaluuya statue taps into a larger conversation about representation in public art. Who gets to be depicted, in what context, and through which lenses are all questions that come to the fore. Statues and monuments often serve as sites of memory and identity, shaping collective perceptions of history and culture. For a long time, such spaces have been dominated by figures and narratives that reinforce dominant cultural ideologies, often at the expense of marginalized voices.

Kaluuya’s statue is a step toward diversifying these spaces, yet it also reveals the complexities inherent in such efforts. While the inclusion of a Black British actor is a welcome shift, the specific depiction chosen—one of subjugation and paralysis—raises concerns about how narratives of Blackness are constructed and consumed. It underscores the need for careful consideration in how these representations are crafted and the messages they send to a broader public.

Impression

As more statues and public artworks are commissioned to reflect a wider array of voices and stories, the lessons learned from the Kaluuya statue can serve as a guide. It is not enough to simply include diverse figures; the context, pose, and narrative must also be thoughtfully considered to avoid reinforcing harmful stereotypes or limiting interpretations.

Future installations might benefit from a more collaborative approach that involves not just the artists and the subjects but also the communities that these artworks seek to represent. Public art, after all, is as much about dialogue as it is about aesthetics. Engaging with a diverse range of perspectives can help ensure that these artworks resonate on multiple levels and contribute meaningfully to public discourse.

The statue of Daniel Kaluuya is a landmark moment for British cinema and for public art in London. It celebrates the achievements of a homegrown talent who has made significant inroads in the film industry, both domestically and internationally. Yet, it also opens up critical discussions about representation, narrative choices, and the responsibilities of public art in portraying complex identities and histories.

Kaluuya’s reaction to the statue—expressing humility and gratitude—stands in contrast to the polarized public response. While he sees it as an honor and a recognition of his work, the statue’s reception reminds us that representation is always a layered and contested space. As we continue to reckon with how public spaces memorialize cultural achievements, the debates surrounding Kaluuya’s statue will likely serve as a valuable touchstone for future efforts in creating inclusive and thoughtful public art.

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