Frieze Sculpture has returned to Regent’s Park, transforming the London park into an open-air exhibition of contemporary art until 1 November 2026. The free exhibition brings together 11 international artists, with Fatoş Üstek returning as curator for the fourth consecutive year.
Now in its 14th edition, Frieze Sculpture sees Douglas White transform discarded truck tyres into a seven-metre-tall palm tree, while Catriona Robertson conjures giant worm-like creatures emerging from the earth, imagining a future in which organisms have evolved to consume industrial waste. Elsewhere, Angel Otero has embedded a partially open door into the ground, with a staircase descending beneath the park’s surface, while Ivana Bašić reimagines a Yugoslav war memorial as a breathing sculpture.
Set against the landscape of Regent’s Park, the works invite visitors to consider the histories and forces shaping the world around them. Here, we take a closer look at the sculptures on display.
Angel Otero, ‘Dreams and Salt’ (2025–2026) Presented by Hauser & Wirth
A plywood door sits partially buried in the ground, left ajar to reveal a staircase leading beneath the surface. Neither clearly an entrance nor an exit, it invites questions about what lies below, suggesting that the sculpture’s most significant element may be the part we cannot see. Drawing on his experiences of growing up in Puerto Rico, studying in Chicago and now living between Puerto Rico and New York, Otero transforms a familiar household object into a reflection on migration, memory and belonging. The work follows Otero’s first UK exhibition, recently presented at Hauser & Wirth Somerset.
Carolina Aguirre, ‘Held’, 2026. Presented by Ruttkowski;68
A weathered bronze form splits in two to reveal a white quartz stone, held delicately between its halves. Collected from her family home in Uruguay, the quartz carries a personal connection to memory, place and belonging, themes that run through the work of Santiago-born, London-based artist Carolina Aguirre. Inspired by xenoliths – fragments of rock enclosed within another rock – the sculpture contrasts the malleability of bronze with the permanence of stone, exploring the fragile bonds that connect us to one another and to the places we call home.
Catriona Robertson, ‘WYRM’, 2026 Presented by The Muse Gallery
Colossal worm-like forms appear to weave through the earth in London-based artist Catriona Robertson’s WYRM, imagining a future in which organisms have evolved to consume industrial waste. Made using her signature ‘papercrete’ – a mixture of concrete and recycled newspaper pulp – the sculptures resemble strange archaeological discoveries, combining the textures of industrial debris with the appearance of ancient fossils. Drawing on the discarded materials of urban life, Robertson envisions a world in which the waste of today becomes the building blocks of future ecosystems.
Conrad Shawcross, ‘Eye of the Needle (Time Pebble (E30A13))’, 2026 Presented by Victoria Miro
British artist Conrad Shawcross turns the traditional clock into a meditation on cosmic time with Eye of the Needle, an elliptical sculpture whose perforated surface creates shifting patterns of light and shadow. Part of his ‘Time Pebbles’ series, the work draws on a visit to the Holmdel Horn Antenna in New Jersey, the instrument that helped scientists discover cosmic microwave background radiation in 1964. Combining geometry with scientific inquiry, Shawcross explores how we measure time while looking back to the Big Bang and the origins of the universe.
Douglas White, ‘Black Palm’, 2026 Presented by Leila Heller Gallery
Rising over seven metres high, Douglas White’s Black Palm transforms discarded truck tyres and steel into a towering palm tree. The London-based artist collected the burst tyres along highways in Belize during a residency in the rainforest, where the sight of disease-stricken, blackened palms inspired the sculpture. Set against the carefully cultivated landscape of The Regent’s Park, the work draws attention to the labour and global trade that shape such spaces, while reflecting on Europe’s colonial exploitation of tropical environments and the transformation of rubber into a global commodity.
Elena Nemkova, ‘Agony in the Garden’, 2026 Presented by Dom Art Gallery
Two oversized animal paws rise towards one another in a prayer-like gesture, their crossed claws suggesting both vulnerability and defence. Made from forged metal, its scarred, irregular surface and changing patina respond to the light and weather, giving the sculpture a shifting presence within the landscape. Born in Tajikistan and now based in Milan, Elena Nemkova explores the tension between primal instinct and human emotion, transforming a gesture of uncertainty into one of hope and endurance. Situated in the heart of the city, the work also presents The Regent’s Park as a place of refuge and contemplation.
Ivana Bašić, ‘Metanoia’, 2025 Presented by Albion Jeune
A cluster of lotus-like forms made from concrete, glass and copper incorporates glass vessels that inhale and exhale air through a network of race-car exhaust pipes in Ivana Bašić’s Metanoia. Inspired by the futuristic war memorials built across former Yugoslavia, the sculpture reimagines the Flower Monument at Jasenovac as a living, breathing organism. Born in Belgrade and now based in New York, Bašić draws on her childhood experiences during the violent breakup of Yugoslavia to explore themes of loss, fragmentation and the desire for unity. Combining the permanence of a monument with the fragility of glass and breath, the work reflects on the possibility of renewal in the aftermath of conflict.
Matyáš Chochola, ‘METEOR’, ‘BRUTALIST’ and ‘MACE II’, 2024 Presented by The Chemistry Gallery
Prague-based artist Matyáš Chochola brings together Baroque sculpture and futuristic technology in these monumental works, created using experimental 3D concrete printing. Part of a 12-piece series reinterpreting Matthias Bernard Braun’s 18th-century Virtues and Vices, the sculptures combine references to antiquity, cubism and brutalism. METEOR, inspired by a meteorite discovered in Oregon and sacred to the Chinook people, sits atop a fragment of a classical column, while MACE II features angular, ridged forms finished in metallic copper and anthracite.
The most technically complex of the three sculptures, BRUTALIST , pictured, combines the fragmented form of a classical column with the imposing geometry of brutalist architecture and the playful aesthetic of the Memphis Group. Constructed from individually 3D-printed concrete components, each produced at different angles, the work brings together ancient architectural references and postmodern design. For Chochola, these contradictions are central to sculpture’s ability to challenge how we see the past and imagine the future.
Ramesh Mario Nithiyendran, ‘Warrior Figure’, 2026 Presented by Jhaveri Contemporary and Sullivan+Strumpf
Standing two metres tall, Warrior Figure is a double-sided bronze sculpture with two contrasting faces: one painted and textured, the other highly polished and reflective. Hand-built in clay before being cast in bronze using the ancient lost-wax technique, the figure retains the expressive marks of its original construction and stands on a brightly spray-painted steel plinth. Born in Sri Lanka and now based in Sydney, Nithiyendran draws on South Asian sculptural traditions and Hindu, Buddhist and Christian imagery to create a contemporary idol that brings together different cultural histories, religious references and queer aesthetics.
Tarini Sethi, ‘The Sun Bathes Its Friends and Neighbours’, 2026 Presented by Rajiv Menon Contemporary
Composed of four stainless steel panels, The Sun Bathes Its Friends and Neighbours features an intricate arrangement of intertwined, hybrid bodies, combining erotic imagery with distorted and exaggerated human forms. New Delhi-based artist Tarini Sethi draws on Indian miniature painting, folk art and sacred imagery, including multi-limbed deities, to create an Indofuturist vision in which bodies transcend conventional boundaries of identity and biology. Exploring the tensions between pleasure, power, the grotesque and the sacred, the sculpture imagines a world where physical transformation and sexual freedom are limitless.
Özlem Günyol and Mustafa Kunt, ‘Possibilities for a Sculpture’, 2026 Presented by Dirimart
Three concrete slabs lie flush with the ground, taking the place of the plinths of three London monuments, but without the statues that once stood upon them. Instead, each is inscribed with text describing the missing figure’s pose, replacing the traditional monument with a set of written instructions. Frankfurt-based artists Özlem Günyol and Mustafa Kunt, who have collaborated since 2005, use the work to question the authority and permanence of public monuments. By bringing the pedestals down to ground level and removing their figures, the duo challenges conventional ideas of what a monument should represent and how the public engages with it.
Frieze Sculpture in Regent's Park until 1 November