It was an early start for our University trip to Yorkshire, with plans to visit the Yorkshire Sculpture Park and the Barbara Hepworth Museum. By 7:45 a.m. I was outside campus, joining a growing group of students eagerly waiting for the coach. There was a mix of excitement and sleepiness in the air—an energy that always comes with the start of a long day out.

The coach was comfortable, but the journey itself proved to be longer than expected. Traffic around Glossop slowed us down considerably, delaying our arrival by almost two hours. Instead of arriving in time for the park’s opening, we had to adjust to a shortened visit. While it was a little frustrating, I decided to make the most of every moment once we arrived.

My first destination was the Underground Gallery, where I could see the work of William Kentridge—an artist I’ve admired for a long time. Kentridge, a South African artist, creates across sculpture, print, and film, with a style that feels uniquely his own. What struck me most was how the sunlight played against his sculptures, creating moving shadows that added depth and complexity. Watching his films was equally fascinating; his way of combining narrative with imagery left a lasting impression.

The Pull of Gravity Exhibit (William Kentridge) Photograph by A.Nelson

I’ve always admired his practice from a distance, but being in the space with his sculptures felt completely different.

The pieces were displayed with such care. You could tell a lot of thought had gone into how they were installed—not just what they were about, but how people would move around them and how the light would hit them. It made the experience feel more alive, like the sculptures were part of the room rather than just sitting in it.

What I love about Kentridge is how layered his work is. On the surface, the sculptures are bold and striking, but as you spend more time with them, the details start to reveal themselves. The shifting shadows added another dimension, constantly changing as I walked around. It was like the works were never still—always moving, always telling a slightly different story depending on where you stood.

From there, I wandered into the grounds to visit James Turrell’s Skyspace at the Deer Shelter. Sitting inside was one of the highlights of the day. Turrell’s design transforms the sky into a living artwork. Clouds drift by, light changes, and suddenly the simplest of views becomes profound. It was a moment of calm, offering space for reflection amid the busyness of the trip.

Although time was limited, I made sure to see more of the park’s highlights. Near the Weston, I encountered two of Damien Hirst’s monumental sculptures—Charity and The Virgin Mother. Their size and presence demanded attention, and seeing them up close was quite an experience. After a quick drink at the Weston café, I reluctantly started making my way back towards the coach.

The Deer Park Skyspace, James Turrell. Photograph by A.Nelson

Just before leaving, I spotted Robert Indiana’s iconic LOVE sculpture on the horizon. Bold, bright red, and instantly recognisable, it stood proudly against the green fields—a perfect closing image for the day. I snapped a few photos before rejoining the group.

Despite the delays and shortened visit, the trip was inspiring. The Sculpture Park offered moments of beauty, peace, and reflection that will stay with me for a long time.

LOVE by Rob Indiana at YSP, Photograph by A.Nelson

A Visit to the Hepworth, Wakefield

After leaving the Sculpture Park, we jumped back on the coach and about forty minutes later rolled into Wakefield. Our next stop was The Hepwoth.

To get there, we crossed a modern bridge over the River Calder which led us straight to this striking, brutalist-style building. I really liked its clean, sharp lines—there was something about its simplicity that felt very fitting for Hepworth’s work.

Helen had actually arranged a talk with one of the artists and curators, which I was really looking forward to. Sadly, because of the delays earlier in the day, the talk had to be cut short. A bit of a shame, but at least we managed to get a little insight before heading off to look around on our own.

The gallery itself was fantastic. Hepworth’s sculptures were beautiful to see up close, and I loved how the space made the work shine. The huge windows let in so much natural light that it felt like the pieces were constantly changing—shadows shifting, forms coming alive. You could really appreciate the textures and shapes in a way that felt very natural, like the sculptures belonged in that space.

We only had about an hour before it was time to head back to the coach, which felt far too short. Luckily, the journey home wasn’t as long as the one earlier in the day.

Elizabeth Fritsch, ‘Otherworldly Vessels’ at The Hepworth, Photograph by A.Nelson

By the time we got back, around 8pm - I was tired but full of ideas. The whole trip had been inspiring, and I was pleased with how my photos came out. Now I feel ready to take all that inspiration and pour it into my induction project. Kentridge’s work stuck with me long after I left the Underground Gallery. It made me want to look again at the photos I took, to hold onto that feeling and maybe use it as inspiration in my own work.

Short Film with Photography by A.Nelson

YSP & The Hepworth

A Visit to the Hepworth, Wakefield

Liverpool Biennial 2025