This year was a disappointment for me as far as sculpture was concerned. The piece above is attractive enough, and a clever idea, but, .... Although I paid more attention to prints than before, I did try to keep an eye open for sculptures too. I thought that the piece in the first room was brilliantly placed because of the red walls hung with bright paintings.
The idea to paint the walls red was that of the artist with overall responsibility for this year's more viewer-friendly hang: Tess Jaray. I was delighted with the effect it had on the sculpture, but that's about it for the sculpture as far as I was concerned.
David Mach has made yet another clever sculpture out of wire coat hangers - I was bowled over by the first one I saw, was happy to recognise the next few, but now I'm bored with the idea, just as I am bored with his multiple postcard collages. His work which once wowed me now seems lazy and glib.
David Nash has one piece: Hump with a hole, which looked sorry for itself, and completely out of place in its surroundings. I much prefer the look of these three humps in his present exhibition at Kew.
Indeed the main room full of sculpture - room VII - made me want to get out as quickly as possible. One piece only attracted me: a piece of ceramic by Philip Eglin.
That and another ceramic piece by Edmund de Waal, high up on a wall in splendid isolation in the Large Weston Room, were the only 3D pieces I really admired. The de Waal is entitled A lament, I don't know if it is named for the Purcell Dido and Aeneas (The lament) which he has called 'the most moving piece of music you will find'. I cannot find a photo of the piece, a white aluminium shelf with white glazed porcelain vessels, but I found it wonderfully elegant.