Central London unveils The Artist’s Garden, a unique public art space dedicated to women artists, showcasing their contributions through thought-provoking exhibitions.
Central London is increasingly becoming a vibrant hub for public art, with notable installations prompting conversations and reflections that enrich the urban landscape. Among the newest contributors to this artistic dialogue is The Artist’s Garden, which opened in 2021 above the Temple underground station. This space is distinguished as the world’s only public art garden dedicated exclusively to works by women, making it a significant cultural landmark.
The Artist’s Garden features a series of exhibitions that highlight the creativity and perspectives of female artists in an arena traditionally dominated by male voices. The first installation, “Back In the Air” by London artist Lakwena, graced the garden with an impressive mosaic that spanned an extensive 1,400 square metres. Following this, the garden showcased “Through the Cosmic Allotment” in 2022, a collection featuring greenhouses housing psychedelic sculptures by artists Tony Heywood and Alison Condie. The upcoming installations highlight the diverse interpretations and expressions of femininity in art.
This year’s exhibition, titled “MARY MARY,” is the first group showcase at The Artist’s Garden. It includes works by nine artists: Rong Bao, Olivia Bax, Lucy Gregory, Virginia Overton, Candida Powell-Williams, Frances Richardson, Holly Stevenson, L R Vandy, and Alice Wilson. The title gestures towards the nursery rhyme “Mary, Mary, quite contrary,” crafting a narrative that subverts traditional views of femininity while illustrating the possibilities inherent when women reclaim artistic spaces.
Among the featured pieces, L R Vandy presents two works that address themes of female inequality. “Dancing in Time: The Ties that Bind Us” is a smaller iteration of a work previously displayed at the International Slavery Museum in Liverpool, composed of woven reeds and plaited ropes inspired by the African diaspora’s spirit dances. Vandy’s other piece, “Superhero Cog-Woman,” pays homage to the contributions of women welders during the Second World War through a colourful assemblage of industrial cogs that reflect nearby Waterloo Bridge’s heritage.
Rong Bao’s “Yellow Path” offers an accessible installation in the form of tactile mats resembling Braille characters, intended for visually impaired individuals. This innovative approach conveys a commissioned poem by Alex Donnelly, inviting deeper engagement from the audience.
In contrast, Olivia Bax’s “Cartouche” presents a mixed media piece comprising a teapot and connected metal bars, hinting at a homespun aesthetic. Virginia Overton contributes with “Untitled (chime for Caro),” turning discarded pieces from sculptor Anthony Caro’s work into a striking set of wind chimes that resonate throughout the garden.
Other notable works include Frances Richardson’s “Performed Object,” which integrates elements illustrating homelessness into the existing bench structure, and Holly Stevenson’s surreal ceramic installation, “Another Mother,” which replaces lost wall sections with thought-provoking reinterpretations. Alice Wilson’s “Savoy” adds vibrant painted wood bundles that sway in the breeze, while Candida Powell-Williams presents “Auguries through the Mist,” a whimsical assemblage melding organic forms and intrigue.
Leading the interactive experience is Lucy Gregory’s “It’s All Kicking Off,” a kinetic artwork that features a vertical pole adorned with female legs that spin in a playful nod to the constraints of Victorian society, specifically commenting on the cultural taboos surrounding women’s bodies.
Though the existence of The Artist’s Garden is a noteworthy triumph for female representation in the arts, it highlights a stark reminder of the ongoing need for more such spaces. “MARY MARY” runs until September 3, 2025, offering free access to these enriching artistic expressions for the public to enjoy and engage with. This exhibition presents a compelling invitation to reflect on gender, art, and community in contemporary society.
Source: Noah Wire Services
Image: The Collab