Imagine pouring your heart and soul into something, only to see it neglected and almost hidden from view. That's precisely how a group of former miners feel about 'Dream,' a stunning sculpture perched atop the former Sutton Manor colliery in St Helens. They believe this impressive piece of public art, meant to be a symbol of hope and regeneration, is being treated like an embarrassment, rather than celebrated as a landmark.
'Dream' depicts the serene face of a young girl, gazing out towards the bustling M62 motorway. Conceived as a beacon of cultural significance for Merseyside, a northern English county, many argue it falls short of its potential, especially when compared to the iconic 'Angel of the North' in Gateshead. But here's where it gets controversial... is it simply a matter of neglect, or are there deeper reasons why 'Dream' hasn't achieved the same level of fame?
Gary Conley, who toiled underground at Sutton Manor for 18 years until its closure in 1991, doesn't mince words. He describes the perceived lack of respect for 'Dream' as "scandalous," arguing that St Helens should be actively promoting and capitalizing on its artistic asset. Conley, who played a key role in bringing 'Dream' to life in collaboration with artist Jaume Plensa back in 2009, now laments that both the sculpture and the rich history of mining in St Helens are slowly being buried from public memory. "We're hiding it," he says, "We hide it with trees. It's like it's an embarrassment to us at times." He envisions a thriving local economy built around 'Dream,' rather than an attempt to conceal its existence.
A major point of contention is the obstructed view of 'Dream' from the M62 motorway. Forestry England, responsible for managing the surrounding woodland, has stated its intention to "look for opportunities to open up new views of the sculpture during periodic woodland management activity." But is that enough? Should more proactive measures be taken to ensure 'Dream' is visible to the thousands of motorists passing by each day?
Jim Housely, representing the Northwest Miners Heritage Association, echoes Conley's sentiments. For Housely, the preservation and promotion of 'Dream' and its connection to the mining industry is deeply personal. His grandfather and father both worked at the colliery. He acknowledges the sculpture is "fantastic" but emphasizes that "it needs looking after." And this is the part most people miss... it's not just about the sculpture itself, but about the entire visitor experience. Housely points out the lack of basic amenities like a café or even public restrooms. "We are trying to push for a cafe, parking, it's a wonderful place to bike around, walk your dog, but it could be much better," he explains, highlighting the untapped potential for tourism and economic development.
Jeff Bannister, another former miner, expresses a broader concern: "Sometimes we just feel as though the mining industry is something that people want to erase from history, we don't seem to get the recognition for what was done here for many, many years." The closure of collieries across the UK was a painful chapter in the nation's history, and some argue that acknowledging and preserving this heritage is crucial for understanding our present. Bannister's personal connection to Sutton Manor, where his father and grandfather also worked, underscores the emotional weight carried by 'Dream'.
In its prime, the Sutton Manor colliery employed 1,500 miners daily, producing an impressive 600,000 tonnes of coal. Today, the sounds of industry have been replaced by the footsteps of walkers exploring the pathways leading to the sculpture. St Helens Council, which owns 'Dream', maintains that it is "incredibly proud to be the birthplace of this artwork" and that it's "a prominent feature in the promotion of the borough, and is often used as part of marketing campaigns." In 2021, 'Dream' even featured in the Netflix drama 'Stay Close', sparking renewed interest from tourists. However, the miners argue that this surge in attention was not effectively capitalized upon.
Public art expert Laurie Peake, who has worked on other iconic regional projects like Liverpool's Superlambanana and 'Another Place' on Crosby beach, believes the authorities are missing a significant opportunity by not fully leveraging public art as a marketing tool. She describes such art as a "good Trojan horse that brings other benefits with it." Peake suggests that 'Dream' should serve as "a gateway" to St Helens, acting as a "flag that says, hey, we're here and we're places where imagination and art can take place, and great places to come to."
So, the question remains: Is 'Dream' being unfairly neglected, or are there other factors at play? Could it be that the sculpture's connection to a controversial industry like coal mining makes it a less appealing symbol for some? What do you think St Helens Council should do to better promote and support 'Dream' and the legacy of the Sutton Manor colliery? Share your thoughts in the comments below!
