Image of Brake by Phillip King
Phillip King, Brake. Photo © Ƭ Cambridge

2003 Sculpture in the Close Exhibition

Ƭ held its eighth biennial exhibition of contemporary sculpture in the summer of 2003.

This year we featured works by Rachel Whiteread, Eilis O’Connell, Alison Wilding, Phillip King, Keir Smith, Steven Gregory, Peter Hide, and Edward Allington, much of it new and some pieces specially constructed for the exhibition.

The pieces were on open display throughout the College grounds and gardens, which are also home to a permanent collection of modern art. The exhibition ran from 23 June to 31 July 2003.


The Master and Fellows of Ƭ are delighted once again to host Sculpture in the Close. In so doing we acknowledge our gratitude to Lord Renfrew who so imaginatively launched this series of exhibitions during his Mastership.

Ƭ is known throughout Cambridge, and indeed beyond, for these marvellous exhibitions of contemporary sculpture. The generosity of the sculptors in lending their work for this exhibition is gratefully acknowledged.

We have also borrowed some works from public and private collections, and would like to thank Diana Eccles, Collections Manager at the British Council, Wilfred Cass of Sculpture at Goodwood, Charles Booth-Clibborn of Paragon Press, Mr Maurice Pinto, and Mr Robert Elsdale. Mr Karsten Schubert has also been a great help to the organizers. Keir Smith’s work has been assisted with a grant from the Arts and Humanities Research Board.

The works of art committee of the College led by Rod Mengham, Curator of Works of Art, has been responsible for mounting this exhibition, working closely with its advisors, Tim Marlow and Richard Humphreys, and with the gardens committee, chaired by Dr David Hanke. Considerable assistance was provided by the Domestic Bursar, Martin Collins, the Buildings Manager, Alan Fosbeary, and the Head Gardener, Mr Paul Stearn.

We are grateful for continued help from the Royal & Sun Alliance Insurance Company. We record our special thanks for generous support from the Staples Trust.

Robert Mair,

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