Welcome to
THE HIDE INSTALLATION + SCULPTURE SHOWCASE
14 & 15 / 21 & 22 June -11am-5pm

10 artists from the south west & London respond to the theme, adaptable matter

at The Hide’s outdoor sculpture show, now in its fourth year.

Jessica Akerman, Barbara Beyer, Flora Bradwell, Luke Chin-Joseph, Will Cruickshank,
Liz Elton, Chantal Powell, Alice Sheppard Fidler, Valentino Vannini & Andrea V. Wright.

Giving emerging creatives an opportunity to show alongside professional artists, The Hide has partnered with 2 youth charities in Gloucester: The Venture Community Hub and Young Gloucestershire.

Plus young people make collaborative sculpture, shown at both their community venues & The Hide.

Please use the map and list of works below to guide you round the garden.

More information on the artists, how to find us, and press, scroll down page.

1: Luke Chin-Joseph - Windmill 2.0

2025, Steel, plaster, 175 x 104 x 30cm
I have experimented with making objects that look like they should move or have some kind of kinetic function or purpose. I sketched a windmill-looking form that wouldn’t necessarily spin. After developing the idea further, I decided it should move and use a bearing system. I had to grind paint away on the bearing to allow a current to pass through the weld, exposing the raw metal underneath. The plaster cast boots on the end of the arms rhyme with shoe motifs and ideas around journeying, which I often explore.

2: Alice Sheppard Fidler - Seemingly arbitrary decisions of life shattering scale

2025, Outdoor speaker, amp, player, 15 x 20 x 10 cm
This sound work is placed at a boundary or entry point where the passage is open but an interruption is taking place - the moment when one human delivers news to another - a supposedly interpersonal exchange, yet in actuality a cold deliverance of a final decision where it seems the dice are weighted in favour of certain people.

3: Andrea V. Wright - Conduit

2024/25, Salvaged pipes, sand, canvas, polyurethane foam, pigment, latex, thread, paint, 200 x 102 x 60 cm
Utilising crudely cut hollow salvaged pipes, ordinarily used in architecture to transport liquids, these works combine acts of cyclical repetition and reflect the tensions implied by the ever-changing precariousness of our constructed environments. Each work occupies space to describe a whole, embodying bodily and architectural metaphors, but the spaces within and around the cylindrical tubular forms are devoid of their original function, creating a disorientation of displacement and isolation from their intended purpose. Alongside the symmetry of geometrical clusters, collisions and separations are manifested as clean, smooth and pigmented surfaces about accumulative surface accretions. The works presented are experimental and playful sculptural collages that utilise mass-produced objects discarded and destined for landfill. A synthesis of materials re-used, re-purposed and ever evolving.

4: Young People from Young Gloucestershire (18-25yrs) One Leg Many Heads
2025, Mixed Media, 184 x 15 cm
Alice Sheppard Fidler used the work of legendary sculptor Phyllida Barlow as inspiration for sculpture workshops with young people. She wanted them to work with abstraction, at scale, with bold colours and gestures. They worked collaboratively to avoid individual pressure and there was no expected outcome, inviting questions like what’s the point?, what does it mean? They inhabited a relaxed, playful making space where they could experiment and question without getting answers,  exploring together the important role that community plays in supporting individuality. “The thing about sculpture that is particularly my passion… is whether the work can be on the edge of knowing what it is and what it could be or might be.” Phyllida Barlow, The Art Newspaper, Nov 2013.

5: Flora Bradwell - Worm
2024, Acrylic on osb board and soft sculpture, 2.5mx1.2mx1.2m
Worm looms over you like a hungry flower with a deconstructed toothy face at its centre. Jocular, wayward and slightly off kilter, this creature is alive in one way or another. But are those tendrils at its feet benign roots or outstretched tentacles?

6: Barbara Beyer - Hole and heap
2025, earth, phacelia, 2025, 410 x 90 x 94cm

7: Jessica Akerman - Splanter
2025, Cardboard, clay, wood, steel, automotive paint, plants
This artwork explores using the wrong tool for the job. Moulding, mushing, angle grinding, turning and sanding cardboard in different forms to create an outdoor plant stand, inspired by Victorian design. The aim is to see how it degrades, and how far to push the tension between structural integrity and preposterous collapse. I have planted to attract slugs. In the top bowl their favourite lupin and lettuce, but to get there they have to traverse a copper tape path and bird bath. 

8: Luke Chin-Joseph - Fuchsia 
2025, Steel, 106 x 120 x 137cm
I’m interested in the intersection between industrialism and the natural world, combining industrial materials with ecological forms. I was recently given a book on fuchsia flowers which I sketched from to inform some sculptural works. I went into the workshop and improvised with a loose plan of what I wanted to produce. Flipping the drawings and material upside down as I was welding, I arrived at this work.

9: Andrea V. Wright - Passengers
2024/25, Steel, salvaged pipes, sand, polyurethane foam, canvas, pigment, latex, thread, paint
Utilising crudely cut hollow salvaged pipes, ordinarily used in architecture to transport liquids, these works combine acts of cyclical repetition and reflect the tensions implied by the ever-changing precariousness of our constructed environments. Each work occupies space to describe a whole, embodying bodily and architectural metaphors, but the spaces within and around the cylindrical tubular forms are devoid of their original function, creating a disorientation of displacement and isolation from their intended purpose. Alongside the symmetry of geometrical clusters, collisions and separations are manifested as clean, smooth and pigmented surfaces about accumulative surface accretions. The works presented are experimental and playful sculptural collages that utilise mass-produced objects discarded and destined for landfill. A synthesis of materials re-used, re-purposed and ever evolving.

10: Liz Elton - Bound
2025, Bio material (food waste bags), household textiles, vegetable dyes from kitchen waste, water miscible paints, soil, silk, seeds and leaves of native edible plants that flourish in loamy clayey soil, 200x300cm

My family comes from this area, and I feel a pull back to these soils.  For ‘Bound’, I looked at an old parish map, making a loose structure for the work by tracing the paths with textile scraps, filling in using bio material that will inevitably break down, and household textiles coloured with food waste, water miscible paints, and soil from my garden.  Seeds and leaves of edible plants that grow well in these loamy clayey soils are embedded in the work, with leaves of wild strawberries from my own garden, to connect through space and time.  I think about the beating of the bounds custom, reminding folk of the parish borders, where they live, and the plants that flourish here.

11: Chantal Powell - Gods and Giants 

2014, Steel, glass, photograph printed on clear vinyls, 160cm x 60cm x 60cm
Using transparent photographic vinyls adhered to clear glass, I collaged fragments from the Pergamon Altar’s frieze of gods and giants, which I photographed during a visit to Berlin. Broken mythic bodies, suspended in layers of glass. The mirrored base catches and refracts the fractured deities above but also the viewer and the shifting environment. 

Installed outdoors, the piece enters into dynamic dialogue with the landscape and light.  What’s visible at one angle becomes hidden at another, echoing the elusive, layered nature of the unconscious and the cyclical illumination of buried memory.

12: Alice Sheppard Fidler - The promise, the magic, the deception

2025, Timber, wallpaper, velvet, sand, 183 x 270 cm

Using the aesthetic of stage scenery, I play with what occurs between the body and space when the indoors is brought outdoors.  

Through recycling materials found on location in the 1960s bungalow, I reference the borrowing of other cultures’ symbolism and refer to the change in conversations that has happened in my lifetime. The fakeness of one greenery highlights the realness of another, creating a performance both farcical and highly relevant.

13: Valentino Vannini - Will I meet your eyes? #1

2024, Concrete, steel, synthetic fibres, grass from the Heath, branches, petroleum jelly, 290 x 200 x 160 cm

Will I meet your eyes? is an installation that navigates queer spaces of encounter, where the performativity of seduction and the centrality of the gaze are critically examined. Through a deliberately disheveled palette of urban-natural materials—cast, plaited, and woven—Vannini stages a tension between rigidity and softness, reconfiguring notions of bodily vulnerability. Referencing St Lucy’s eyes, the work subverts the dominance of sight, queering sculptural and architectural structures into sensorial experiences. Echoing surveillance infrastructures, its steel and concrete forms parody contemporary visual regimes. Here, fibres—and queer bodies—tangle in playful defiance, enacting a sensual resistance against normative boundaries and modes of perception.

14: Will Cruickshank - Large Flask

2018, Water carved plaster and thread, 134cm

Large Flask is an early plaster and thread work using leftover thread mixed into building plaster. The thread adds a strength to the plaster a bit like fiberglass, creating a hard material with a hairy softness. It was carved and eroded using grinders and a pressure washer whilst it was spun on a homemade vertical lathe, powered by a cement mixer.

15: Flora Bradwell - Worm

2024, Acrylic on osb board and soft sculpture, 2.5mx1.2mx1.2m

Worm looms over you like a hungry flower with a deconstructed toothy face at its centre. Jocular, wayward and slightly off kilter, this creature is alive in one way or another. But are those tendrils at its feet benign roots or outstretched tentacles?


16: Valentino Vannini Will I meet your eyes? #2

2024, Concrete, steel, synthetic fibres, tree suckers, petroleum jelly, 205 x 200 x130 cm

17: Chantal Powell - Lens 1& 2

2018, Steel, direct to media printing inks

Lens 1 and Lens 2 are steel discs printed with cosmic-looking imagery—actually photographic enlargements of molten tin, captured during an earlier process in my studio. 

Installed outdoors, they invite shifting reflections and environmental interaction. One evokes the moon, the other a planetary view of Earth, suggesting a dialogue between micro and macro. The title Lens points to altered perspective—both literal and symbolic—where process becomes cosmos, and material transformation mirrors internal or universal change. These works explore alchemy not as metaphor, but as a lived, embodied engagement with matter, perception, and the poetic space between inner and outer worlds.

18: Luke Chin Joseph 4,110 steps

2024, Wood, metal, string, found objects, 25cm x 25cm x 207cm
This work was made while undertaking the PADA residency in Barreiro, Portugal. The residency was located in the Companhia União Fabril (CUF) industrial park. CUF was one of the largest corporations in Portugal, exporting products worldwide. Next to our shared warehouse studio were the old brutalist remains of the industrial area. A vast derelict landscape with crumbling concrete structures, mountains of rubble and pockets of nature taking back the land. Walking through the abandoned industrial park factory was very inspiring. Finding materials to work with and seeing nature take its course. The objects that sit on top of this sculpture were all found on one day, walking across the remains of CUF and took 4,110 steps. 

19: Jessica Akerman - Felt Drawing

2022, Felt, acrylic paint

20: Young People from the Venture Hub, Gloucester (14-18yr olds approx) - One Head Many Legs

2025, Mixed media, 170 x 132 cm
Alice Sheppard Fidler used the work of legendary sculptor Phyllida Barlow as inspiration for sculpture workshops with young people. She wanted them to work with abstraction, at scale, with bold colours and gestures. Here, they explored the ways that individuality creates community, working collaboratively to avoid individual pressure and there was no expected outcome, inviting questions like what’s the point?, what does it mean? They inhabited a relaxed, playful making space where they could experiment and question without getting answers.

“The thing about sculpture that is particularly my passion… is whether the work can be on the edge of knowing what it is and what it could be or might be.” Phyllida Barlow, The Art Newspaper, Nov 2013

21: Barbara Beyer
adobe from London Clay
2024, wood, slate, roofing felt, 180  x 59 x 50 cm

This boat shape has travelled quite a bit now, each time changing its appearance according to the site. It is made from recycled wood and London Clay from a basement dig, mixed into an adobe Clay with sawdust and sand, a traditional building material used in timber framed houses. Recycled Welsh roof slates protect the form and form a horizontal layer in the steeply ascending garden. 

adobe from Cotswolds  Clay

2025, Clay, wood, slate, roofing felt, 193 x 80 x 50 cm

For THISS the boatshape made of London clay has a companion. A second boat shape with a horizontal slate roof. This sculpture is made from clay, dug out from one of the plant beds in The Hide. For this sculpture woollen fleece is added as fibrous material into the clay to turn it into a sturdy adobe building material, referencing the historic textile industry of the area. The dug-out hole in the plant bed remains, a negative boat shape, now overgrown by phacelia seeds sown out straight after the dig.

  • Will Cruickshank (b.1974 UK) has a multidisciplinary practice which includes sculpture, film, photography, and printmaking.  His recent work has focused on making objects through a studio based development of experimental machinery, materials, and production methods.

    He studied Fine Art (Sculpture) at Manchester Metropolitan University 1994-97, and has taken part in exhibitions and residencies nationally and internationally.  He was awarded an Arts Council England International Artists Fellowship for a residency in Yunnan Province, China in 2007, and Arts Council England DYCP funding for studio research 2018-19.

  • Barbara Beyer is a Sculptor living and working in London. She is member of the Royal Society of Sculptors, The London Group and Studio Member at Rochester Square Ceramics. Her work addresses and celebrates but also questions the consequences of our fundamental ability to shape, change and make. 

    Barbara was born in Rheydt Germany, where she studied Fine Art, History of Art and German Literature, at Johannes Gutenberg University. From 1993 to 1997 she joined the Sculpture Class of Prof Ansgar Nierhoff. In 1998 she moved to Edinburgh where she was a member of the Edinburgh Sculpture Workshop until 2002 when she moved to London.

  • Luke Chin-Joseph (b. 2000) is an artist working across sculpture, installation and photography. He is interested in the constant flux of urban city landscapes, the materials and processes that shape these environments. Luke works with industrial and found objects, woven into fabricated sculpture – with an element of play. 

    Luke graduated from Camberwell College of Arts in Sculpture and is currently exploring notions of time and modes of archiving, rhyming with undertones of humour and whimsical cartoon. Objects and images are exaggerated and pushed, with often the gesture being the focal point of the work.

  • Liz Elton was born in Bristol. She works across a wide range of media including painting, photography, video, print and large scale installation. Liz has completed a Hospital Rooms commission, is the recipient of a Mark Rothko Memorial Trust Artist in Residence Award, and has been shortlisted for the John Moores Painting Prize three times. Residencies include the Florence Trust, Groundswell Regenerative Farming Festival, and the Bothy Project on the Isle of Eigg, supported by Windsor and Newton. She has a BA in Painting and an MA in Fine Art, from University of the Arts London, and a BA in History of Art from UCL. Liz is a member of the Royal Society of Sculptors.

  • Chantal Powell is a British artist born in 1977, whose practice blends Jungian psychology, alchemical symbolism, and personal exploration of the unconscious. With a PhD in psychology, she utilises a Jungian art-based research approach to engage with archetypal material and the psyche. Working across ceramics, glass, textiles, and painting, her research into alchemical manuscripts informs her practice. 

    Powell has exhibited at galleries and institutions internationally, including The Lightbox Museum, Woking; La Boulangerie, Paris; and Guildhall Art Gallery, London. She is the founder of Hogchester Arts residency program and a faculty lecturer at JungAcademy. She also offers talks on archetypal symbolism and psychological alchemy and has co-curated exhibitions focusing on archetypally symbolic art.

  • Flora Bradwell's generously grotesque practice encompasses painting, sculpture, performance and installation. Flora completed her MFA in Painting at The Slade School of Fine Art in 2021, receiving the Felix Slade Award, The Jeanne Szego Prize and Sarabande Emerging Artist Bursary while there. In 2023 Flora received the Gilbert Bayes Award and a-n Artist Bursary. Flora's work has recently been exhibited The Royal Society of Sculptors, Matt's Gallery and Saatchi Gallery, London, Wakefield Art House, Wakefield, Liminal Gallery, Margate and Future DMND, LA.

    Selected residencies include Vincent VanGogh Huis, Zundert Elephant Lab, London, Cyprus College of Art, Paphos, and SIM, Reykjavik.

  • Valentino Vannini, born in 1976 in Florence, Italy, is a London-based multidisciplinary artist. He holds an MA in Fine Art from City & Guilds of London Art School, where he is currently a fellow in the glass and cast department. He has received the Sculpture Award from Studio West Gallery, London, and completed a residency at Standpoint Gallery, followed by a solo show.

    Recently, Vannini participated in group shows at Somers Gallery, SET Lewisham, Greenfield Project, Meeting Point Projects, The Phoenix Garden and White Conduit Projects. He has exhibited with New Contemporaries at Karst, Plymouth and the ICA London (March 2025).

  • Andrea V. Wright (b.1967) is a multidisciplinary visual artist based in Somerset, UK. She graduated from Chelsea College of Art & Design before establishing a career in fashion, styling, and music. 

    In 2016 Wright completed an MFA at Bath School of Art & Design and has since been selected for the Jerwood Drawing Prize 2017, the Royal Society of Sculptors Bursary Award 2017/18, and the Ingram Collection Purchase Prize 2019. In 2021, Wright was awarded an AN Bursary for the PADA residency in Lisbon, Portugal.  Wright’s work is held in private collections in both the UK and abroad.

  • Jessica Akerman (b.1978, Wellington, UK)  lives and works in Bristol. Her material-led practice includes sculpture, textiles and painting.

    Akerman grew up in Ironbridge, Shropshire and Bradford, West Yorkshire. These industrial settings have informed her interest in the physical and social experience of work, an ongoing theme in her practice.

    She studied Sculpture at Chelsea College of Art, and History of Art & French at UCL. She has exhibited in the UK and Ireland, has received funding from Arts Council England and a-n, and was a Lead Artist on Artichoke’s national artwork Processions in 2018.

    Residencies include TheCoLAB Body and Place Residency 2024, Kent Cultural Baton Artist Retreat and Metal Time and Space Residency.

  • Alice Sheppard Fidler (b.1966, Birmingham, UK) works across sculpture, installation and sound. She is a founding member of Studio Voltaire Gallery and Arts Charity, London, and runs the artist-led initiative The Hide Artist Retreat in Gloucestershire. Before completing her MA in Fine Art at the University of the West of England in 2020 she worked in design for television, film, and fashion. She was a recipient of the Gilbert Bayes Award from the Royal Society of Sculptors, the CAS Emerging Sculptor Development Award, and Arts Council DYCP in 2023/24, and is a current Spike Island Associate.

    Recent exhibitions include: Trinity Buoy Wharf Working Drawing Prize finalist 2024, Gilbert Bayes Award Show - Arthouse, Wakefield and Royal Society of Sculptors London 2024, Fluxus Museum Video Prize finalist, Paros 2024, Mother Art Prize finalist, London, 2023. Residencies include: PADA Studios, Portugal, 2023, Casa Regis Italy, 2022.

Getting here & parking

We suggest you locate Beaudesert Park School on the sat nav as we are just below this: Beaudesert Park School, Minchinhampton, Stroud GL6 9AF. 

Drive alongside the school on the flat with the long stone school wall on your left and the common on your right, direction Amberley. The road drops gently down. 

Park in the parking bay on the right, then walk down and turn left.

Drop pin for parking: 51°42'08.1"N 2°12'52.9"W

Free access parking on gravel drive for two cars, booking by email ahead essential.

Please note there are 5 steps down to the property and one doorstep, property on one level inside. Parking for all other cars in the bay on the common, 5 minutes’ walk away.