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Poet of the People: George Triggs on Sculpting Benjamin Zephaniah
In conversation with Hannah Payne
When George Triggs first encountered the poetry of Benjamin Zephaniah, he found far more than literary inspiration. During the isolation of the Covid pandemic, Benjamin’s words – particularly People Need People – offered connection, hope and a renewed sense of purpose. What began as a personal response has evolved into Poet of the People, an exhibition featuring a monumental bronze portrait celebrating one of Britain’s most influential poets, writers and cultural voices.
Standing more than four times life size, the sculpture of Benjamin Zephaniah is George’s most ambitious work to date. Yet beyond its scale lies a quieter ambition: to capture not simply Benjamin’s likeness, but his humanity. Lines from People Need People are woven directly into the bronze, reflecting George’s belief that “Benjamin Zephaniah is his words” and that poetry and portraiture are inseparable in telling his story.
Created in dialogue with Benjamin Zephaniah’s family, the work will be presented at TM Gallery in London (19 August – 30 September 2026), alongside a selection of Benjamin’s poetry, inviting audiences to reflect on portraiture, public memory and the enduring power of language.
I spoke with George about discovering Benjamin’s writing, the challenges of creating a monumental bronze, and why he believes art has an important role to play in preserving the legacy of extraordinary people.
Hannah Payne
Co-curator, Poet of the People
George Triggs | Poet of the People opens on 19th August, 2026 and runs until – 30th September, 2026 at TM Gallery, TM Lighting, 7 Cubitt Street, London WC1X 0LN.
1. Benjamin Zephaniah was a poet, activist and cultural figure whose words continue to resonate across generations. What was it about Benjamin that inspired you to commemorate him through monumental public sculpture, and why do you think his legacy feels especially important today?
The more I learned about Benjamin, the more inspired I became. He was a poet, writer, actor, musician, teacher, activist and – though I’m not sure he would have described himself this way – a philosopher. He cared deeply about people and animals, and spent much of his life trying, successfully, to make the world better: more loving, kind, creative, equal and just.
I wanted everyone to know about him because he enriched my life and helped me. I wanted to help others discover him. I can’t think of anyone more deserving of a lasting legacy. He was such a uniting and understanding person, and I feel that we, as a country and as a world, need voices like his to be raised up and celebrated.
2. You have said that Benjamin’s poetry really came into your life during the isolation of Covid, particularly People Need People. What was it about those words that resonated so deeply at that moment, and how did they become the inspiration for this body of work?
I had enjoyed Benjamin’s poetry for a while before, and the way he performed it. I had seen him on TV talking about politics too, and always admired his calm, considered and thoughtful approach, as well as his views.
However, as you say, it was the poem People Need People which touched my heart and soul, and at that point I delved much deeper into his work and began discovering much more about him.
People Need People felt like it wasn’t just about the human condition, but about everything it means to be human. It was playful, soulful, heavy, serious, light and simple, yet covered so much. It gave me reassurance when lockdown was at its peak and I felt so isolated. Through that poem I felt connected in our isolation, connected to everyone, and realised quite how much I need people, how we all need people, and that people need me too.
I have often isolated myself from people through fear of rejection and being hurt, but a fully isolated life becomes very lonely and restrictive very quickly.
3. One of the most distinctive aspects of the sculpture is that lines from People Need People are physically incorporated into Benjamin’s clothing. You’ve said that “Benjamin Zephaniah is his words.” Why was it important that his poetry became an integral part of the sculpture itself?
When talking about legacy and what’s left behind after we are gone, what remains are our words – a permanence to our thoughts, stories about us told through word of mouth, writing or recordings. These are all memories that can be shared, that can far outlive us and have a wider positive impact on people long after we are gone.
Benjamin’s words live on in others and are such an integral part of him, the fabric of his being, radiating from him. He was a man of his words – words maketh the man!
I also felt that he wouldn’t have wanted a traditional sculpture on a plinth that, over time, becomes like all the others, but rather an introduction to his work and his words – something that says so much more than the physical, something that speaks and connects with all humanity.
4. Rather than depicting Benjamin at one moment in his life, you studied hundreds of photographs spanning many years, searching for something more enduring than likeness alone. Working closely with Benjamin Zephaniah’s family throughout the process, how did that shape your approach to creating a portrait that felt truly like Benjamin?
I feel we are all a collection of so many moments in our lives, at different ages. My own work varies so much over the years, but it’s all still part of who I am. Benjamin’s body of work spans many generations and genres. He has poetry which could not be more serious, poetry for young children about the simple joys of nature, funny, silly stories, and everything in between.
He is known for his big joyful grin, bouncing around the stage one moment and deep in thoughtful reflection the next. I wanted the sculpture to encapsulate all of this – to be undoubtedly him, but not from one specific time in his life. I wanted it to capture his kindness and joy, but also his compassion and thoughtfulness.
If Benjamin’s family hadn’t shown such trust and belief in me from the maquette stage, I don’t think there would ever have been more than a small maquette sitting on a shelf in my studio.
I felt a great responsibility to capture Benjamin through his family’s eyes – his warmth, love, humanity and spirit they all knew so well. Their encouragement throughout the process meant a great deal to me, and I wanted, and hope I did, do both them and Benjamin justice in the final sculpture.
All of my past experience, and all of me, went into the creation of this sculpture, and I wouldn’t have wanted it any other way.
5. This is your largest sculpture to date and your first work at this monumental scale in bronze. How did working at four times life size change the way you thought about Benjamin as a subject, and what challenges did the process present, both technically and creatively?
A life-size sculpture can quite often disappear within an architectural landscape. I also wanted to give this huge presence to a huge character who had such a tremendous impact on British culture. I wanted people to meet him face to face, feel connected to him, and for him to feel connected to his surroundings.
It was certainly more challenging than I expected. I had to stand a long way away from the sculpture to see it properly, and photographs of it always looked proportionally wrong. Physically it was hard work, but I do like working that way. It feels like more of you goes into it; your whole being contributes.
Support structures became something I had to think about, along with different techniques for creating elements such as the dreadlocks. It took much longer and presented many more challenges than I expected, but the challenges you overcome become part of the story. I like solving problems, working out puzzles and pushing myself beyond my comfort zone, and in doing so growing not just as an artist, but as a person.
6. You’ve spoken openly about periods of illness, chronic pain and self-doubt, and about how Benjamin’s writing encouraged you to put yourself back into the world creatively. As the sculpture nears completion, what reflections has this process left you with, both as an artist and perhaps more personally?
Benjamin’s autobiography, The Life and Rhymes, particularly helped me. Reading about his many obstacles, his thoughts and his approach to life throughout the years had a profound impact on me.
Pain, self-doubt and fatigue from illness made me insular, exhausted and struggling to keep trying after so many knockbacks. Benjamin’s attitude of keeping on putting yourself out there, believing in yourself and not letting fear of rejection hold you back – of continuing to be kind and not hiding yourself away – inspired me. Seeing how much he had done with his life, and how much positivity he has left us with, encouraged me to do a little of the same. If you don’t try, it doesn’t happen. If you keep trying, it’s much more likely to happen.
I have often thought I was fragile because of how many times I have felt broken and hopeless, but Benjamin helped me realise that I’m incredibly strong and resilient for all the times I’ve kept putting myself back together; kept picking myself up; kept trying even though everything hurt; never giving up, even when I couldn’t feel hope; kept being kind even when the world didn’t feel kind to me; and kept making the effort to create and put myself out into the world.
7. This marks your second solo exhibition at TM Gallery, following Between Love and Fear in 2019. How does it feel to return with such an ambitious new work, and what are you most looking forward to about seeing Benjamin presented within the gallery, particularly through its carefully considered lighting and exhibition setting?
My favourite exhibition I have ever done is Between Love and Fear at TM Gallery in 2019. Good lighting for sculpture is essential. It brings out the form, the presence, the feeling and the atmosphere – it brings it to life. It’s a beautiful space, with room for sculptures to breathe into the air around them.
To return after lockdown, illness, chronic pain and a lower back fusion, with my biggest and most ambitious project yet, feels incredible. Taking down the show as lockdown began and not knowing what came next was scary and deeply unsettling. I stopped working altogether for a couple of years because of chronic pain and coming back from that has been a difficult journey, with much to learn and much to grow along the way.
8. Looking beyond this exhibition, where do you hope the sculpture will ultimately find its permanent home, and what conversations do you hope it will continue to inspire for generations to come?
I truly hope the sculpture will find its home in Birmingham. It was Benjamin’s home, and I feel the city is connected to him just as he is connected to the city. Ideally, it would be somewhere educational and inspiring, like Benjamin himself – outdoors, open to everyone and amongst the people, connected to the city.
Benjamin Zephaniah wanted his legacy to be love, and I hope this sculpture helps carry that legacy far and wide. I also feel he represents fairness, unity and humanity, and that he has had such a profound and fundamental impact on British culture. Those qualities all deserve to be celebrated and shared.