Andy Ash, 'try again fail again, fail better.' Andy Ash performed, try again, fail again, fail better, at The Opening Party of WINTER SCULPTURE PARK on 1 March. The work explored walking as an artistic practice - an inquiry into space, movement, and perception. Engaging with the history of the abandoned driving range, the performance investigated spatial judgment, bodily limits, and rule-breaking. Informed by walking through the South Downs, Brighton seafront, and city streets, it challenges conventional categorisation. Andy's flags of progress remain on site as part of the PARK.

Diana Zrnic, 'The Promise of Continuity'. Myth and reality intertwine within Diana Zrnic's work. Her repeating lexicon of characters, symbols and objects creates a visual language across each piece, continuing a story with every work she makes. For WINTER SCULPTURE PARK 2025, Diana has created a water feature. As the well-known faces return to bathe in sunlight, rain, wind and frost, they are refreshed by the gentle trickle of the fountain water, cleaning them for the next part of their tale.

Helen Grant, 'Keepin' Up'. Helen produces over-familiar, redundant symbols that provocatively question their own worth. When first visiting the former golf course, she was struck by the sight of the wind turbines across the river to Dagenham, feeling an urge to wave back at them in the same endless motion; an impossibility. This sculpture is her way of realising that. Made from bright, colourful sheeting the pinwheel is at odds with the purposeful appearance of the turbines. It's futile, uncontrollable spinning is reflective of contemporary pressures felt to 'keep up' and appear busy and cheery, even when we feel quite the opposite.

Richard Mackness, 'To the four winds'. Richard works in dualities. Creating sculpture based on his observations of opposing theologies, ideals or qualities around him. Along the Thames, near WINTER SUCLPTURE PARK, sea containers wash ashore at Tilbury - modern icons of global trade. Beneath their corrugated steel cladding lie echoes of classical architecture, yet culture and identity are swept aside by consumerism’s relentless tide. Here Richard plays with shifting meanings: the ancient temple, the steel box, the overgrown remains of a former empire. Time and tide have transformed the container into stone; an abandoned tomb gazing out to sea. And for those curious enough to look inside, a secret answer awaits through the peep hole.

Liam Scully, 'Sh*t Heads'. Liam centres his artistic practice around the political, the personal and lowbrow trash culture; exploring how the three are inextricably linked. For WINTER SCULPTURE PARK he has created a series of political heads out of an organic material he has developed himself; ‘Crossness Cob’. The material uses incorporates a sewage byproduct from Crossness pumping station called ‘cake’ which is essentially the collective poo of all of South London, from Richmond to Thamesmead and is fitting to represent the political class. "They are shit heads made by our collective sh*t. We worship and despise them at the same time. These are effigies/idols literally made from our own ruin."

Sophie Fishel, 'Drive Like a Girl'. Sophie works with metal, creating large scale sculptures that pass comment on observations she makes about the world and people around here. Here she pokes fun at the sexism she faced while driving cherry pickers and forklifts throughout her time working as a metal fabricator.

Eleanor Mclean, 'Wishes'. Eleanor draws on mass cultural memory, instigating nostalgia in each of us as we view her work. Using familiar objects of childhood stories and spaces she creates installations and sculptures that prompt us to remember moments that may have sunk into the depths of our minds. She brings these thoughts to the foreground to create a moment of blissful remembering, our thoughts perhaps aligned with each other, whilst reflecting her specific childhood memories culturally embedded in her working class background.

Stephanie Douet, 'Brutalist Crazy Golf'. Stephanie creates exaggerated forms bursting with vibrant theatricality. Her work draws from an eclectic mix of historical influences; from Chinoiserie and Victorian Gothic, to Pop Art and, most recently, Brutalist architecture. A recent residency in Croatia sparked her obsession with Brutalist monuments, particularly with the Spomenik - the Serbo-Croat/Slovenian word for monument refering to the pioneering abstract memorials built in Josip Tito’s Yugoslavia between the 1960s and the 1990s, marking the horror of occupation by Axis forces and the triumph of their defeat during World War II. Drawn to their raw, emotional presence aligning with the Brutalist surroundings of Thamesmead, and in the shadow of the abandoned club house building, Stephanie presents her own memorial to the space, with a nod to the playful absurdity of crazy golf.

Poppy Whatmore, 'Playtime'. Poppy Whatmore addresses how power structures are established in the objects we encounter everyday. By reconfiguring typical scenes from our domestic lives, she confronts the shadows of patriarchal and societal power that shroud the things we use. By placing day-to-day objects in new compositions the learnt myth and messaging society has assigned them is adjusted. Much like the WINTER SCULPTURE PARK, Poppy is demonstrating how an alternative context can help us interrogate what we’re being shown and why.

Charlie Franklin, 'Psychic Defence'. Charlie's work considers control within what she broadly descirbes as landscape. Ambiguous or empty areas that sit between wilderness, industry, recreation and agriculture. Charlie is interested in making public art that does not necessarily adhere to traditional requirements; to be anti-authoritation, temporary and materially experimental. This work is called Psychic Defence, borrowing from the visual language of the hay bale it's made of stacked bundles of recycled bubble wrap bound in pink gaffa tape. Her aim was to build a section of wall, made from bulbous forms acting as a futile barrier, a folly, or a forgotten fragment of something larger that no longer remains.