The Squat The System is a provocative art series of staged photographs exploring power, authority, and resistance, created during my tenure as Lord Mayor of Sheffield. Shot in Sheffield Town Hall, the series features 12 images of me squatting in spaces of political decision-making, starting with the mayoral chain and progressively removing it until it is no longer worn. This symbolic act critiques the rigidity of traditional authority, celebrating the dismantling of hierarchical structures and the reclamation of power by ordinary people.

The project challenges the formal and often distant nature of power, with the squat—an informal yet defiant gesture—acting as a tool to bridge the gap between institutions and the communities they serve. Its simplicity made it both relatable and contentious, sparking conversations about authority, resistance, and the role of public officials in redefining leadership.

The 12 monthly photographs were meticulously staged within Sheffield Town Hall, the seat of local government and a symbol of civic authority. Each image captures me squatting in significant locations, including the council chamber, where key decisions affecting the city are made. The deliberate removal of the mayoral chain across the series represents a gradual deconstruction of institutional power and a reclamation of agency by the people.

The act of squatting was intentionally provocative—an unassuming gesture transformed into a bold critique of authority. The project disrupted traditional expectations of decorum associated with the office of Lord Mayor, reframing leadership as accessible, grounded, and accountable. Released on social media, the series quickly gained traction, inviting strong reactions from both supporters and critics.

The squat, an unconventional yet accessible gesture, challenges the rigid conventions of political authority and leadership. Its informality contrasts starkly with the grandeur and formality of Sheffield Town Hall, emphasising the disconnect between institutional power and the people it is meant to serve. The progression of the series—beginning with the mayoral chain and ending without it—symbolises the peeling away of status and privilege to reveal the humanity and accountability that should underpin leadership.

The act of squatting also evokes humility and grounding, a visual metaphor for returning power to its foundational purpose: serving the community. By staging the photographs in spaces of governance, the project invites viewers to reconsider what leadership should look like—dynamic, approachable, and rooted in service, rather than constrained by tradition or hierarchy.

The polarised responses to the project highlight its potency as an artistic statement. For some, the squat was an empowering act of resistance; for others, it was a controversial affront to decorum. This tension underscores the project’s success in provoking dialogue about authority, leadership, and the evolving expectations of those in power.

This art work builds on traditions of socially engaged and performance-based art, drawing comparisons to the works of Jeremy Deller, whose participatory projects challenge power structures, and Penny Arcade, whose performances provoke dialogue on authority and societal norms. It also echoes Barbara Kruger’s text-based critiques of power, using the simplicity of the squat pose to disrupt expectations and provoke reflection.

By combining staged performance with digital dissemination, the project demonstrates the role of art in challenging political narratives and sparking public debate. Its ability to divide opinion underscores its relevance as a commentary on authority, resistance, and the boundaries of public expression.

The viral replication of the squat pose turned an individual artistic statement into a collective movement, illustrating the power of art to inspire dialogue, invite participation, and redefine the ways we engage with systems of power.

The project resonated far beyond Sheffield, becoming a viral phenomenon as individuals around the world recreated the squat pose and shared their own images online. Supporters embraced the gesture as a symbol of defiance and empowerment, turning the project into a global conversation about reclaiming power.

Notably, the phrase “Donald Trump Is a Wasteman” emerged from the campaign and became a cultural moment, plastered across London during Trump’s UK visit. This added a layer of satirical resistance to the project, amplifying its reach and solidifying its place in public discourse.

However, the project also sparked significant backlash. Critics labelled the squat as undignified and disrespectful to the office of Lord Mayor, igniting debates about the balance between tradition and progressiveness in public leadership. This mixed reception highlighted the project’s ability to polarise and inspire, turning art into a platform for both critique and celebration.