Frieze Sculpture brings shade-and light-to Regent's Park

"I was drawn to shadows because they are both origin and metaphor-the first paintings were said to be outlines of shadows, and sculpture itself is inseparable from the body's shadow. In Regent's Park, as autumn arrives, shadows lengthen, becoming quieter, more contemplative. I also think of shadows as the things we repress-guilt, shame or histories we'd rather forget. The sculptures here respond to those layers: human, animal, plant, material."

"Andy's piece (above) visualises recordings of bird calls as 3D waveforms. The nightingale, the cuckoo and the crow are species whose populations are vanishing before our eyes; the nightingale has declined by more than 90% in Britain. In literature and myth, these birds were seen as guardians of time, destined to outlive us. Now their absence signals something darker. Andy freezes them in sculpture, so that we encounter them as both present and already disappearing."

"King of the Mountain is rooted in her community's relationship with the buffalo-the animal that was both a spirit guide and a way of life until it was hunted to near extinction. The last buffalo in her Montana homeland was born in 1930. By placing the buffalo here in London, Jaune flips the colonial gaze: she relocates the "king" onto the coloniser's land."

The exhibition titled In the Shadows frames shadows as both origin and metaphor, linking early outline paintings and sculpture's inseparable relation to bodily shadow. Shadows lengthen with autumn in Regent's Park, becoming quieter and more contemplative. Shadows also represent repressed elements such as guilt, shame and forgotten histories. Sculptures respond across human, animal, plant and material layers, inviting walking, pausing, reflection and recognition of unseen presences. Andy Holden's Auguries (Lament) visualises bird calls as 3D waveforms to memorialise declining nightingale, cuckoo and crow populations, freezing them as present yet disappearing. Jaune Quick-to-See Smith's King of the Mountain relocates the buffalo to London, challenging colonial perspectives and invoking loss and satire.

Read at The Art Newspaper - International art news and events