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Phyllida Barlow in front of Act (2021) at Highgate Cemetery Photo: David Owens Phyllida Barlow works on a monumental scale but in the most unmonumental of styles. Her sculptures are usually made from materials typically found in a builder’s yard, such as wooden offcuts, scaffolding poles, concrete finishes and lengths of gaffer tape. Her colours day-glo pinks, reds, green and turquoise are also at odds with the gravitas commonly associated with sculpture. Sprayed, daubed and grungy they are more reminiscent of hi-vis and hazard warning signs than Pop Art sheen. Her British pavilion for the 2017 Venice Biennale positively exploded with towering, teetering columns and bulbous boulder-like protuberances. And these unruly works, which she has likened to unwanted guests have been shown in a number of other august institutions, including Kunstalle Zurich, Nasher Sculpture Center in Dallas, the Royal Academy of Arts and Tate Modern’s Turbine Hall.

United statesUnited kingdomCity ofDavid owensKunstalle zurichHenry mooreLouisa buckMozart idomeneoVenice biennalePhyllida barlowGeorge eliotKarl marxRomero nunesBenedict johnsonNasher sculpture centerRoyal academy of arts