Wake

The camera stands in one of the slots between the plates, which is where this work has to be experienced from - from outside it is a row of rusty shapes on gravel, and from inside it is architecture. Walls of weathering steel go up on both sides well over head height, curving as they rise so that one leans away from you and the one opposite leans in, and the gap between them opens and closes as it runs. The surface is the point: the steel is left to corrode, and it has gone every shade from wet orange to near black, streaked where water has run down it. Sound changes in here, and so does the light. Through the gap at each end you get a slice of the ordinary world going on - the shore path, people, a curved glass office block, the city - which makes the inside feel more enclosed than it actually is.

Wake is Richard Serra's five paired steel plates, installed at the Olympic Sculpture Park in 2004. Each of the five waves stands about fourteen feet high and weighs somewhere near thirty tonnes.

They are made of weathering steel, which is meant to rust: the oxide layer forms, stabilises and then protects the metal underneath. The colour you see is not neglect, it is the finish doing what it was chosen to do. Walking between them is the point - the curves close and open as you move.