SCULPTURE AT DODDINGTON

Sculpture at Doddington

25 July - 6 September 2026

The stunning walled gardens and romantic wild garden provides the perfect setting for hundreds of works of art made by talented sculptors from across the UK and beyond.

Curators David Waghorne and Kate McGovern have carefully selected national and international sculptors to complement each area of the garden and to provide an eclectic exhibition to suit all tastes, styles and budgets. A large indoor gallery located in the Stable Yard will exhibit a captivating variety of smaller-scale pieces.

Almost every piece in the exhibition is for sale, an investment which will bring enjoyment to your home or garden for many years and will help to support the career of the sculptor.

OPENING TIMES

25 July – 6 September, Gardens & Stable Yard Gallery open daily, Open daily, Mon-Sun 10am-4pm, last entry one hour before closing.

*Please note that on Tuesdays, Thursdays & Saturdays the East Front may be temporarily closed for weddings. Visitors will be rerouted during this period and the East Front will be opened again as soon as possible.*

If you would like to visit the Hall (open Wed, Fri, Sun & BH Mon, 11am-4pm), we recommend pre-booking tickets to guarantee your preferred time slot. Hall tickets include access to the Gardens & Gallery. Gardens & Gallery only tickets are available on arrival.

TICKETS

Usual garden admission applies, no extra charge for the exhibition. Sculpture at Doddington tickets are available on arrival at the Gatehouse and include an Exhibition Programme and access to the Gardens & Gallery.

Adult: £9.50 / Child: £4.50 / Family: £22

Doddington Season Ticket Holders: Free

Historic Houses, RHS, CPRE & Art Fund Members: 20% off full price garden entry

2 for 1 for carers

Please note that no other promotions are valid during the Sculpture Exhibition.

IMPORTANT INFO

The majority of the exhibition is outdoors and will open regardless of the weather (with the exception of extreme weather).

Tickets are available on arrival at the Gatehouse.

Tickets for Sculpture at Doddington include an Exhibition Programme and access to the Gardens & Gallery. Tickets are valid between 10am-4pm Mon-Sun. You are welcome to visit any time during these times on your selected day, last entry is one hour prior to closing.

If you would like to visit the Hall (open Wed, Fri, Sun & BH Mon, 11am-4pm), we recommend pre-booking tickets to guarantee your preferred time slot. Hall tickets include access to the Gardens & Gallery.

Doddington season ticket holders receive free entry.

PLEASE NOTE THAT PROMOTIONS ARE NOT ACCEPTED DURING THE SCULPTURE EXHIBITION AS IT IS A SPECIAL EVENT. WE ARE OFFERING 20% DISCOUNT TO THE FOLLOWING CARDHOLDERS: HISTORIC HOUSES, ART FUND, RHS & CPRE MEMBERS.

No large bags or picnics permitted in the Gardens/Gallery (picnic area is available in the parkland by the lake).

No dogs permitted in the Gardens/Gallery (assistance dogs only).

Photography for personal use is welcome, please note that commercial photoshoots are subject to permission and fees.

Toilets are open in the Gardens.

Your safety is our first concern. Please do not touch the sculptures – some pieces are heavy and will cause serious injury if they fall. Please take care.

Any damage caused will be charged to those people responsible.

Please keep children under supervision at all times.

Some areas of the garden have rough paths and changes in levels, others have delicate flowers growing in the grass. Please take care, follow the paths and respect any barriers that have been erected to protect plants.

Enjoy the exhibition!

Featured sculptors

Rachel Ducker

With an incredibly visual, active mind Rachel has an insatiable desire to create and make. Well practiced in life drawing and with an appreciation of the human form and the emotional dynamics of human nature, combined with being originally trained as a jeweller, lead her to experiment with wire as a medium for sculpting the human form, capturing something ephemeral, either emotive or active. Rachel uses no model and she doesn’t form the shape around anything. The posture is first designed and then the pieces are carefully molded by hand and then gradually added to, wrapping wire, layer by layer. She discovered that the slightest movement in the angle of the hand or fingers, or the tilting of the head changes everything the figure is portraying. Her sculptures being featureless leaves the posture to say all, expressing the feeling, movement and energy. The hair creating the scene, making all more turbulent, dramatic, adding latent movement and tenacity.

Piotr Gargas

Piotr Gargas is a contemporary stone sculptor based in Oxfordshire. After completing art school in 2001, he developed his practice working with stone through both sculpture and architectural restoration, building a deep understanding of traditional carving techniques and material behaviour.Working primarily with marble, slate, limestone and granite, Gargas creates sculptures defined by organic movement, contrasting materials and refined monochromatic surfaces. His work often draws on classical references and natural forms, exploring the balance between mass, flow and structural tension within stone.Alongside traditional carving methods, Gargas incorporates digital 3D processes into the development of his sculptures, combining historical craftsmanship with contemporary tools.His sculptures have been presented in outdoor exhibitions and are held in private collections internationally, including in the United States, Malaysia and Saudi Arabia. The work Hercules, presented in this exhibition, reflects his interest in reinterpreting classical themes through contemporary sculptural form.

Jonty Hurwitz Yifat Davidoff

Jonty Hurwitz is an artist, engineer and founder of the AI research company Daizy.com. He was born in Johannesburg, South Africa and spent his early life living in small hotels in rural towns in South Africa. He studied a B.Sc (ENG) at the University of Witwatersrand in Johannesburg and worked as a full-time researcher at the University of Cape Town.Following his studies Jonty travelled in India studying Yoga and wood carving, before arriving in London where he then spent many years in the tech world designing financial risk algorithms. Jonty started producing sculpture in 2009 and now creates scientifically inspired artworks and anamorphic sculptures. He is recognised for the smallest human form ever created using nano technology.Hurwitz has produced a significant body of work using both oblique (perspective) and catoptric (mirror) anamorphosis. In an interview with Christopher Jobson, Hurwitz explains his anamorphic inspiration as follows: “I have always been torn between art and physics. In a moment of self-doubt in 2008, I wandered into the National Portrait Gallery and stumbled across a strange anamorphic piece by William Scrots (Portrait of Edward VI, 1546). Followed shortly down the aisle by The Ambassadors (Hans Holbein, 1533). My life changed forever. I rushed home and within hours was devouring the works of M. C. Escher, Da Vinci and many more. In a breath I had found “brothers” in a smallish group of artists spanning 500 years with exactly the same dilemma as me. Within two months I was deep in production of my first work. My art rests on the shoulders of giants, and I am grateful to them.” Anamorphosis in painting has a long history. The first known anamorphic sketch of an eye was found in found Leonardo Da Vinci’s note book (folio 35 verso a of the Codex Atlanticus) c.1485. In the mid-18th Century anamorphosis was also used by Jacobite artists to secretly depict images of Bonnie Prince Charlie in the wake of brutal English censorship. Hans Holbien in the 17th century brought anamorphosis into the mainstream with his masterpiece, The Ambassadors, which is held at the National Portrait Gallery in London. Jonty’s pioneering concepts in art are recognized both in the academic world as a new genres, and are studied widely in academic curriculums.In particular, Hurwitz is a pioneer in creating catoptric sculpture. Until the creation of his first work ‘Rejuvenation’, anamorphic sculptures are not known to have existed in art history. In his online talks Hurwitz explains that this is a function of processing power and that whilst it is possible to paint in a mirror, three-dimensional anamorphosis could only have come into being with the advent of powerful computers. Each of his sculptures involves billions of calculations using a series of algorithms derived from the irrational mathematical constant π.

Robert Marshall

Initially a self-taught artist, working in many mediums such as painting, life drawing and stone sculpting, Marshall has taken this raw talent and passion for art and applied it to the latest research and understanding, gaining a BA first class honours at Arts University, Bournemouth and Masters at the Royal College of Art. He is also a member of the Royal Society of Sculptors. For Marshall, art has always been an investigative and experimental ‘tool’ to expand and develop the ‘self’ both spiritually and intellectually through an embodied approach between mind, body and the environment in which we all live. It is this connection of the human with the environment that has led the development of Marshall’s practice toward the more pressing issues of today. He now considers himself to be an environmental and humanitarian artist, using his ‘art’ to highlight some of the many problems and difficulties that human actions have caused to create the complex and troubled world in which we now live.

Jilly Sutton

Jilly Sutton BA trained as a sculptor at Exeter College of Art. Her career developed in Nigeria, where the art forms that flourish there (particularly carvings and textiles) fired her imagination. Back home, her inspiration comes from the ancient trees and woodland that surround her studio on the banks of the River Dart in Devon. Using locally fallen or felled timber, Sutton carves large heads and figures, sandblasting and liming to give them their unique, grainy character. Although her work is mainly figurative, often with an overriding sense of serenity, abstraction also features in her oeuvre. Jilly’s works in private and public collections in the UK and abroad.

Coming Soon

We will be publishing the sculptors for 2026 shortly.

Please check back soon!

We are delighted to welcome you to our annual Sculpture at Doddington exhibition. We have hundreds of inspiring works of art by national and international sculptors set throughout our walled and wild gardens.

There are numbered arrows through the gardens to showcase the breadth of work on display and help you make the most of your visit. Don’t forget to visit the Stable Yard where you will find a large indoor sculpture gallery.

Every sculpture is for sale and a purchase is not only the acquisition of special work but also supports the artists and contributes to the conservation and protection of Doddington Hall & Gardens.

Returning for 2026, our Kitchen Garden hosts our Young Sculptor Award, curated by Doddington Hall’s creative lead, Angus Forbes. This provides an excellent opportunity to view the work of the talented budding sculptors together with works of art from some of the finest contemporary sculptors.

We thank David Waghorne and Kate McGovern from Sculpture Events for once again curating the exhibition and refining the quality and variety of the work. We also thank our sponsors for their generous support.

We very much hope you enjoy your visit.

Claire & James Birch

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SCULPTURE AT DODDINGTON