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Viewing Phyllida Barlow: disruptor and Daisy Parris: Fist Full of Dreams

The Wick Culture - Phyllida Barlow, untitled, 2001, acrylic on paper, 56 x 76.3 cm / 22 x 30 inches
© Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

Above Phyllida Barlow, untitled, 2001, acrylic on paper, 56 x 76.3 cm / 22 x 30 inches © Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

The Wick Culture - Phyllida Barlow, untitled: stackedchairs (detail), 2014, timber, plywood, cement, paint, sand, PVA, varnish, 150 x 640 x 455 cm / 59 x 252 x 179 1/8 inches
© Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

Above Phyllida Barlow, untitled: stackedchairs (detail), 2014, timber, plywood, cement, paint, sand, PVA, varnish, 150 x 640 x 455 cm / 59 x 252 x 179 1/8 inches © Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

The Wick Culture - Phyllida Barlow
untitled
2002
Acrylic on paper
56 x 76 cm / 22 x 29 7/8 inches
© Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

Above Phyllida Barlow untitled 2002 Acrylic on paper 56 x 76 cm / 22 x 29 7/8 inches © Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

The Wick Culture - Phyllida Barlow, untitled: offcuts; 2016, 2016, timber, plywood, wire, cement, sand, hessian scrim, cardboard, wool, polyurethane board, paint, PVA, 185 x 82 x 80 cm / 72 7/8 x 32 1/4 x 31 1/2 inches
© Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

Above Phyllida Barlow, untitled: offcuts; 2016, 2016, timber, plywood, wire, cement, sand, hessian scrim, cardboard, wool, polyurethane board, paint, PVA, 185 x 82 x 80 cm / 72 7/8 x 32 1/4 x 31 1/2 inches © Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

The Wick Culture - Phyllida Barlow, untitled:mantlestacked; 2020, 2020, plywood, timber, plaster, sand cement scrim, steel, paint, PVA, 180 x 41 x 42 cm / 70 7/8 x 16 1/8 x 16 1/2 inches
© Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Todd-White Art Photography, Pete Braithwaite

Above Phyllida Barlow, untitled:mantlestacked; 2020, 2020, plywood, timber, plaster, sand cement scrim, steel, paint, PVA, 180 x 41 x 42 cm / 70 7/8 x 16 1/8 x 16 1/2 inches © Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Todd-White Art Photography, Pete Braithwaite

The Wick Culture - Daisy Parris, Kiss the Storm, Royal College of Physicans, by Patrick Young

Above Daisy Parris, Kiss the Storm, Royal College of Physicans, by Patrick Young

Above Phyllida Barlow, untitled, 2001, acrylic on paper, 56 x 76.3 cm / 22 x 30 inches © Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

Above Phyllida Barlow untitled 2002 Acrylic on paper 56 x 76 cm / 22 x 29 7/8 inches © Phyllida Barlow Estate. Courtesy the Phyllida Barlow Estate and Hauser & Wirth. Photo: Alex Delfanne

Above Daisy Parris, Kiss the Storm, Royal College of Physicans, by Patrick Young

Wolterton Hall
Wolterton Park
Norfolk
NR11 7LY
20 May – 31 October

Disorderly conduct.

Wolterton Hall’s 2026 Art & Culture offering brings together two significant exhibitions by Phyllida Barlow and Daisy Parris, setting contemporary art within one of Britain’s most beautiful Palladian houses. Built in 1741, Wolterton is defined by neoclassical lines, but Barlow and Parris brilliantly disturb its serenity.

Curated by Simon Oldfield with guest curators Clare Lilley and Gemma Rolls-Bentley, the programme fans out through the Hall’s historic interiors and surrounding estate. Barlow’s disruptor brings together more than 70 works spanning five decades, from drawings and works on paper to large-scale sculptural interventions. Made from materials including plywood, scrim, plaster, cement, fabric and tape, her works leave the process and grunt of making exposed. Barlow’s makeshift structures press against the symmetry of the marble, stone and stucco rooms, bringing awkwardness and the signs of labour into spaces built for composure. After all, eighteenth-century aristocrats demanded civility and an assured display of cultural smarts. Early latex works and wall-based sculptures, including untitled: stackedchairs and PRANK: jinx, reveal an artist who questions polish and permanence.

Meanwhile, Daisy Parris presents Fist Full of Dreams in a newly developed ground-floor gallery. Known for emotionally charged paintings thick with impasto, gesture and fragments of text, Parris delivers new works in response to Wolterton and the Norfolk landscape. The paintings draw on mud and weathered outbuildings, bringing rawness to the Hall’s formal interiors.

At the centre of Parris’s display is Kiss the Storm, a five-metre textile installation and a first for them in terms of scale. Initially hand-knotted by a specialist studio in India, the textile was later transformed by the artist through extensive hand stitching. It speaks to generations of women who relied on sewing and repair skills for income and the stitch patterns speak volumes.

Together, this double act turns Wolterton’s historic setting into an active site of frisson.

Viewing Goodwood Art Foundation: Summer Programme 2026

The Wick Culture - Nancy Holt standing inside Sun Tunnels in Utah's Great Basin Desert, 1976. Photograph: Ardele Lister. Artwork © Holt/Smithson Foundation and Dia Art Foundation / Licensed by Artists Rights Society, New York.

Above Nancy Holt standing inside Sun Tunnels in Utah’s Great Basin Desert, 1976. Photograph: Ardele Lister. Artwork © Holt/Smithson Foundation and Dia Art Foundation / Licensed by Artists Rights Society, New York.

The Wick Culture - Eva Rothschild (2023). Photo by Ann Purkiss, RA.

Above Eva Rothschild (2023). Photo by Ann Purkiss, RA.

The Wick Culture - In the Landscape - Yayoi Kusama

Above In the Landscape – Yayoi Kusama

The Wick Culture - In the Landscape - Lee Ufan

Above In the Landscape – Lee Ufan

Above Polly Apfelbaum

The Wick Culture - In the Landscape - Hélio Oiticica

Above In the Landscape – Hélio Oiticica

Above Eva Rothschild (2023). Photo by Ann Purkiss, RA.

Above In the Landscape – Yayoi Kusama

Above In the Landscape – Lee Ufan

Above Polly Apfelbaum

Above In the Landscape – Hélio Oiticica

Goodwood Art Foundation
New Barn Hill
Goodwood
Chichester
PO18 0QP
2 May – 1 November

Goodwood, great art.

Goodwood Art Foundation ignites its seasonal programme with an array of earthworks, sculpture, tapestry, ceramics and large-scale outdoor installations across its 70-acre estate.

The headline is ‘MoonSunStarEarthSkyWater‘, the first major UK presentation of American land artist Nancy Holt. Best known for ‘Sun Tunnels‘, her 1970s work in the Utah desert, Holt explored the ways light and space shape perspective. At Goodwood, early concrete poetry, photography and film sit alongside two posthumous landmark installations. One standout is ‘Hydra’s Head‘, a series of water-filled pools set in the Foundation’s chalk quarry. Exposed to weather and shifting light, the work – named after the constellation- is a live register of the surroundings, with the pools reflecting the sky above and shifting weather patterns.

In the Pigott Gallery, Eva Rothschild brings sculpture into dialogue with two new tapestries woven locally at West Dean’s Tapestry Studio. Rothschild combines hand-made processes with industrial fabrication, creating works that explore material, colour and balance. She dubs it “magic minimalism.”

The show expands into the open countryside. Seek out Yayoi Kusama’s large-scale polka-dot Pumpkin and Lee Ufan’s sparse stone and steel work Relatum. Magic Square #3 by Brazilian artist Hélio Oiticica brings vivid waves of colour into the mix. Existing works by Rachel Whiteread, Susan Philipsz and Isamu Noguchi remain in place, while Solange Pessoa’s soapstone sculptures move outdoors, where weather and moss will slowly alter surfaces to tell new tales. Book that Chichester train and a delicious picnic.

Viewing White Cube at Claydon

The Wick Culture - Artworks © the Artist. © 2026 White Cube

Claydon House
Middle Claydon
Near Buckingham
Buckinghamshire
MK18 2EY

White Cube goes country.

White Cube leaves the cube with a debut intervention at Claydon House in Bucks. Presented with the National Trust; it spans the house’s interiors and grounds featuring over 40 works. Home to the Verney family since 1620, Claydon’s interiors span Rococo, Palladian and Chinoiserie styles, with rooms that carry stories of ambition, empire, inheritance and private loss. There’s four centuries of family history to contend with and buckets of drama and tragedy.

In the Saloon, Van Dyck’s portraits of Charles I and Sir Edmund Verney are faced with Cai Guo-Qiang’s five-panel gunpowder painting Heaven Complex No. 1 and No. 2. In the North Hall, Rachel Kneebone’s mind-boggling porcelain sculptures echo the extravagance of Luke Lightfoot’s flamboyant stucco, while Tunji Adeniyi-Jones introduces a rhythmic counterpoint of colour and movement into the space. The sensorial beats are thrilling.

The exhibition soars when it draws out the house’s more complicated histories. El Anatsui’s bottle-cap sculpture in the Pink Parlour points towards labour, exchange and wealth, while Danh Vo’s work in the museum room considers how valuable objects trade across borders. Vo presents a luxe brand suitcase housing the limbs of a priceless wooden putto. Contraband! Upstairs, Florence Nightingale’s former bedroom is given over to Mona Hatoum, Julie Curtiss and Tracey Emin, where hair garments and embroidered nightmare imagery invoke trauma and misery.

The gardens extend the encounters outdoors. Emin’s neon I Loved You Until the Morning frames the house’s façade, while works by Anselm Kiefer, David Altmejd, Virginia Overton, Gabriel Orozco, Isamu Noguchi, Antony Gormley, Marguerite Humeau, Richard Hunt and Theaster Gates are positioned throughout. There are surprises in the two normally private gardens: the walled Pool Garden and Florence Nightingale Garden. Old power and contemporary imagination collide here and the conversations/debates en route will be fascinating.