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Planning to visit us this week? Here’s some tips to help you enjoy your visit during the heatwave

  • If you’d like to avoid the peak temperatures, we’ll be open from 10am – 5pm, Wed 24 – Sun 28 Jun
  • The shuttle bus will be running throughout the week, going between the Welcome Centre and the galleries/café
  • The galleries are climate-controlled, take your time exploring the art collections and exhibitions in the cool
  • The woodland area by the lake provides plenty of shade 
  • You can top up your water with our free water station in the café
  • Cold drinks and ice creams can be purchased at both the Welcome Centre and café
Exhibitions

Commodities: Sculpture and Ceramics
by Renee So

Saturday 20 September 2025 – Sunday 8 March 2026

new and existing works included a series of darkly playful objects, such as over-sized ceramic snuff bottles shaped like lemons, noses, or poppy seeds.

A series of abstract silver fountain sculptures resembling intestines in a shallow pool stand in a row in a grassy park setting, with tall trees in the background.

Opening Times

Wed – Sun: Grounds 10am-5pm, Galleries 10.30am-5pm
Closed Mon and Tue, except bank holiday Mondays

About the
Exhibition

Hong Kong-born artist Renee So creates darkly playful ceramic sculptures which consider how we understand Chinese culture and history today, from snuff and perfume to silk and even the ancient Chinese version of football – cuju.

Oversized snuff bottles shaped like a poppy or a giant nose linked to sculptures of contemporary perfumes that reference imperial histories such as ‘Invasion’, ‘Colony’ and ‘Opium’. A magic bronze mirror, based on those made thousands of years ago, projected a glowing ghostly image onto a darkened wall. Ritual vessels explored how the Taotie, a mythological Chinese creature, is connected to the early history of silk weaving, pioneered by women. So’s works helped us see Compton Verney’s world-renowned collection of Chinese Bronzes in a new light.

Through a mix of new and never before seen works, So explored how perceptions of history can be distorted, re-fashioned and changed, questioning how we create the new stories we tell ourselves today.

Supported by the Henry Moore Foundation