Installed nearby, Henrot’s ‘Inside Job’ (2019) extends themes first explored in the System of Attachment series, shifting focus from the mother-child relationship to broader experiences of caregiving and dependence. The sculpture centers on a pelican motif and uses repetition and mirroring to explore ‘mutual vulnerability and reciprocal support.’ Through a structure in which ‘what sustains is itself sustained,’ the work considers the coexistence of care and aggression, pleasure and destruction, within intimate relationships.

‘Inside Job’ (2019) was exhibited in ‘Wet Job,’ Middelheim Museum, Antwerp, Belgium (2022), and was previously presented as part of Frieze Sculpture at Rockefeller Center, New York NY (2020). The sculpture was also installed outdoors at Hauser & Wirth Menorca in 2022.

Together, these two bronzes bring Henrot’s distinctive investigation of human psychology, attachment and interdependence into dialogue with the historic architecture and landscape of the Somerset site, offering visitors a unique encounter with one of the most influential artists of her generation.

This year, the artist’s work has been featured in major solo exhibitions including: ‘Camille Henrot. Paper Planes,’ Copenhagen Contemporary, Denmark (2026); ‘Camille Henrot. Don’t,’ The Perimeter, London (2026); and ‘Camille Henrot. In the Veins,’ LUMA Arles, France. In 2026, Henrot also brought her practice to the stage for the first time with the world premiere of ‘Commedia dell’arte,’ co-commissioned by Performa, Aspen Art Museum / Wheeler Opera House and LYRA Art Foundation. Her current Public Art Fund commission, ‘Dogs,’ remains on view in Central Park, New York City NY through August 2027.

Other works included in the outdoor sculpture presentation are Jenny Holzer’s ‘TRAMPLE’ (2015), Niki de Saint Phalle’s ‘Le Poète et sa Muse (The Poet and His Muse)’ (1999), Gary Simmons’ ‘Untitled (Crow 2)’ (2023) and Keith Tyson’s ‘Shadow From A Higher Dimensional Space (with Hole)’ (2023).

In the Farmyard, visitors are greeted by Niki de Saint Phalle’s ‘Le Poète et sa Muse (The Poet and His Muse)’ (1999), which remains installed on the front plinth outside the gallery as a lasting tribute to our 2025 exhibition, ‘Myths & Machines.’ This late work brings together the artist’s hallmark curvaceous forms with dazzling colors and tactile surfaces. Towering over 14 feet high, the sculpture exemplifies the monumental ambition of Saint Phalle’s mature practice. Two entwined figures dominate the composition, led by a triumphant Nana—the artist’s most iconic motif, first conceived in 1965 as a bold reimagining of the female form. Joyful, brightly painted, and defiantly exuberant, the Nanas subverted traditional representations of women in art, celebrating strength, vitality and sensuality.

Nearby, Gary Simmons’ ‘Untitled (Crow 2)’ (2023) can be found outside Roth Bar. A painted bronze sculpture by the Los Angeles–based artist, the work continues Simmons’ long engagement with the imagery and stereotypes of American popular culture, which he has examined since the late 1980s to interrogate the politics of race and class. The crow evokes multiple references—including Jim Crow segregation laws in the Southern United States, Alfred Hitchcock’s ‘The Birds,’ (1963) and the crow characters rooted in minstrelsy from Disney’s Dumbo (1941). Cast in bronze for the first time at this scale, the sculpture retains an intentionally raw form, appearing as though it is still in the process of being shaped.

Set within the landscape of Oudolf Field, Keith Tyson’s ‘Shadow From A Higher Dimensional Space (with Hole)’ (2023) develops from the spatial investigations that shaped his earlier series ‘Nine Paintings Derived from the Same Five Arbitrary Points in Space’ (2021), in which each work interprets a simple algorithm to explore how form emerges from constraint. Continuing Tyson’s longstanding interest in using art to articulate ideas that exceed the limits of conventional representation, the sculpture imagines a three-dimensional ‘shadow’ cast by light originating from a higher dimensional realm. In mathematics, such realms extend beyond the familiar dimensions of space and time, offering radically expanded ways of picturing reality. Through this work, Tyson continues to trace the interconnectedness of all things and the mathematical patterns that structure the cosmos.

Jenny Holzer’s boulders are placed in different locations around site as part of the Stone Trail. These works were created as part of the artist’s 2015 exhibition ‘Softer Targets,’ where Holzer inscribed seven boulders with lines from Anne Carson’s translation of the Greek poet Sappho’s love poems ‘If not Winter: Fragments of Sappho.’ ⁠Made from a soft Purbeck stone, sourced locally, the boulders are intended to be weathered and eroded by natural processes, becoming an integral part of the landscape over time. ⁠‘TRAMPLE’ (2015) is installed in the Farm Shop outdoor seating area.

Coinciding with the exhibition, ‘Emma Kunz,’ you can visit our outdoor sculpture presentation from Saturday 7 November 2026 – Sunday 4 April 2027. The gallery is open Wednesday – Sunday, 12 – 4 pm. The garden is open Wednesday – Sunday, 10 am – 4 pm.