Frieze Sculpture 2026 Features 11 International Artists In Regent's Park

(MENAFN- USA Art News) This year's Frieze Sculpture, curated by Fatoş Üstek, showcases 11 international artists whose works draw from mythology, science, monuments, and popular culture. The exhibition in London's Regent's Park, on view until November 1, also experiments with materials and traditional techniques.

Many of the pieces were created specifically for Frieze Sculpture, all within approximately the past year. Üstek offered insights into several of the featured works.

Highlights from Frieze Sculpture 2026

Elena Nemkova's Agony in the Garden (2026) is described by Üstek as an“underworld creature” with“sharp claws” that seem to be in prayer, erupting from the Earth. Üstek explained,“We have been putting so much of our rubbish into the Earth, and now an entity erupts from the Earth and expresses the agony that nature is in.”

Turkish duo Özlem Günyol and Mustafa Kunt's Possibilities for a Sculpture (2026) translates gestures from three prominent London statues into audience instructions. Üstek noted,“It brings everyone down to eye level; everyone who is enacting these statues also becomes them temporarily.”

Douglas White's Black Palm (2026) is part of a series originating from Belize, where the artist found exploded truck tires. Composed of tires collected in Ghana and Istanbul, the work is seen by Üstek as a form of“counter-colonialism,” with White bringing“rubbish back here” instead of Europe exploiting natural resources.

Ivana Bašić's Metanoia (2025) reinterprets Bogdan Bogdanović's Yugoslavian public monument, the Flower Monument. Bašić transformed the Brutalist concrete pieces into a form with a“heart, brain and lungs,” redefining sculpture from a mere object to something“much more relational,” according to Üstek.

Conrad Shawcross's Eye of the Needle (Time Pebble (E30A13)) (2026) is part of a new series inspired by his collaborations with scientists studying background radiation. Üstek described it as a reflection on the cosmos observing itself and a“portal that you could use to step into the wider cosmos.”

Carolina Aguirre's Held (2026) features a quartz stone from her family garden in Uruguay, held by two monolithic bronze hands. Üstek explained that its fragility reflects“how we are being held between the Earth and the sky, but also between our ancestors and our successors.”

Matyáš Chochola's METEOR, BRUTALIST and MACE II (2024) are three pieces from a series of 12 that reference 18th-century Baroque sculptor Matthias Bernard Braun. Chochola reinterprets virtues and vices for 21st-century values, using innovative 3D-printed concrete technology combined with glass, copper powder, bronze, and brass.

Catriona Robertson's WYRM (2026) incorporates perforated metal sheeting from construction sites and artists' studios, along with her self-made material,“papercrete,” which uses pulp from The Evening Standard newspaper mixed with concrete. Üstek sees it as an“imaginative projection into the future, a gargantuan worm going through the Earth, digesting all this metal and concrete.”

Tarini Sethi's The Sun Bathes Its Friends and Neighbours (2026) marks her first public sculpture at Frieze. Described as a“drawing in the landscape” using a laser as a pencil and stainless steel as paper, it casts shadows and relates to Hindu concepts of gates as“thresholds of transformation,” reflecting humanity's need to coexist with“beyond-human species.”

Ramesh Mario Nithiyendran's Warrior Figure (2026) draws inspiration from 800BC South Indian temples. The figure is adorned with temple vessels and household objects instead of weapons, showcasing“multiple juxtapositions of aesthetics,” appearing as both a terracotta clay figure and a“Basquiat-like figure” on a graffiti-covered plinth, referencing popular culture.

Angel Otero's Dreams and Salt (2025-26) is his first sculpture, and it explores the duality of his life in Puerto Rico and his career in New York. Üstek states that the door in the work serves as a“poetic threshold that connects both worlds together,” akin to a painting opening a door to a different reality.

Source: The Art Newspaper

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