Dulwich Picture Gallery in south London will open its completely transformed sculpture garden to the public next month on September 6-7, marking the centerpiece of the gallery's most significant redevelopment in a generation. The £5 million ($6.25 million) Open Art project builds upon the institution's historic legacy as England's first purpose-built public art gallery, transforming previously underutilized green spaces into dynamic cultural destinations.
The newly created sculpture garden will feature an ever-changing program of contemporary artworks displayed on staggered two-year loan periods, alongside permanent installations including a land art piece by renowned artist Kim Wilkie. The transformation includes an innovative ArtPlay Pavilion designed by HoLD Collective and architects Carmody Groarke, specifically created to provide art-inspired sensory play experiences for young children. Adjacent to this family-friendly space, The Canteen will offer comprehensive facilities for visiting school groups and families.
The redevelopment also includes the opening of a new entrance following the careful restoration of elements from John Soane's original 1811 architectural plans for the building. Gallery Director Jennifer Scott emphasized the project's core mission, stating, "Our overarching mission is to unlock art for everyone." She explained how the COVID-19 pandemic highlighted the critical need to better utilize the organization's three-acre grounds, noting, "It wasn't just that people wanted our gardens, they needed them. They were coming here for their health and their mental well-being, and that added this extra drive to our vision to have publicly accessible sculpture in our gardens."
Funding the ambitious transformation required the gallery, which receives no regular government funding, to more than double its annual fundraising target from £4 million. The project's principal donor is The Lovington Foundation, which specifically funded the area dubbed the "sculpture meadow." Other major contributors include The Julia Rausing Trust, which supports the ArtPlay Pavilion, and the Manton Foundation, which funded an energy-saving ground source heat pump system.
Scott revealed that appealing to funders' specific interests proved crucial in unlocking support and building partnership relationships. The gallery has also established important unofficial relationships with organizations including the Tree Council, Frieze Sculpture director Fatoş Üstek, and sculpture parks both nationally and internationally.
Despite its location in an affluent area within the London borough of Southwark, the gallery serves diverse communities, including areas experiencing significant economic deprivation. The institution maintains partnerships with 150 local schools and works extensively across the neighboring boroughs of Lambeth and Lewisham, while also maintaining a unique partnership with a local NHS GP surgery to serve community health and wellness needs.
The gallery tested audience engagement through temporary pavilions installed on the grounds during the summers of 2017 and 2019. A particularly successful example was Rob and Nick Carter's circular Bronze Oak Grove, which was initially installed for a three-year trial period before being purchased in 2024 to become the new sculpture garden's signature piece. Scott explained the importance of interactive elements, saying, "We wanted to see how audiences responded to an artwork they could sit on and play with. We've had marriages in the middle of that circle, and performances of plays."
Interactivity remains essential for all works entering the garden, even those requiring protective barriers. "The aim is that it'll always feel really fresh, it will feel like a destination," Scott noted, acknowledging the gallery's long-standing challenge of encouraging visitors to make the 12-minute train journey from London Victoria. "Having more to do once you get here helps our audiences know it's worth the trip."
While the contemporary sculpture focus mirrors recent programming initiatives, including the current Rachel Jones exhibition, Scott clarified that there will be no broader shift toward contemporary programming throughout the gallery. "Our paintings were contemporary when they were made," she explained, "so how we unlock their relevance today is to speak to that excitement and innovation—sometimes we do that through contemporary artists."
