Like the ancient fable about the blind man and the elephant, UK-based artists Joanne Tatham and Tom O’Sullivan create work that is observable only in sections but larger than its individual parts. “I’ve been thinking about how to make a work that both fits and doesn’t,” [Tatham] says, of anti-monuments at once grand and awkward, or like “the elephant in the room.” In the photographic evidence of this year’s Coachella, the duo’s “herd” – rising up to six stories (75 feet) – will almost certainly be unintentional photobombers. But despite lumbering size and vaguely mammalian forms, the sculptures are not meant to be any particular animal.

“I was interested in the idea of a beast-without-identity. Almost like a comic fool character, or a kind of everyman or underdog,” says O’Sullivan, who has represented Scotland in the Venice Biennale. It’s also a deliberate subversion of spectacle: to make something with oversized visual impact but that “might unintentionally reveal things about the situation it blunders into,” he adds. “It’s treating an artwork as a kind of complex instrument for viewing the world – bringing certain things in and out of focus."