Road Trip no2: Chelsea Flower Show

As part of my ongoing R&D process into creating large-scale kinetic habitat sculptures, I recently took another self-funded research trip, this time to the famous RHS Chelsea Flower Show in London.

I wanted to immerse myself in current conversations around biodiversity, wellbeing, ecological planting, participatory design and sculptural landscaping, and to see how designers are integrating these ideas into commercially viable public and private garden spaces. It was incredibly inspiring to experience so many overlapping themes emerging across the show.

One of the things that struck me most was how strongly the worlds of art, ecology and wellbeing are beginning to merge. There was a real sense that gardens are increasingly being treated as immersive environments, spaces that can support wildlife, improve mental wellbeing and create meaningful emotional experiences for people.

Biodiversity and Habitat Design

One particularly memorable project was the garden created for the Bat Conservation Trust. The concept centred around creating a nocturnal ecosystem, with planting chosen specifically to support insects that bats feed on at night. I found this approach especially relevant to my own interests in designing habitat-led sculptural environments where each element contributes to a wider ecological system.

I was also fascinated by the Plant Heritage Missing Genera Garden and the conservation work surrounding it. Learning about efforts to preserve rare and disappearing plant species really resonated with my growing interest in biodiversity-focused public sculpture and regenerative landscape design. It highlighted how important long-term ecological thinking is becoming within contemporary garden design.

Sculpture, Water and Immersive Environments

A recurring theme throughout the show was the integration of sculptural and architectural elements into planting schemes. I found myself repeatedly drawn to gardens that incorporated movement, structure and water.

The Tate garden particularly stood out to me. It featured a striking contemporary sculptural aesthetic alongside an underfoot flowing water element, blurring the line between fine art installation and garden design. Seeing contemporary sculpture integrated so naturally into a living environment felt especially relevant to the direction I want my own practice to move towards.

Many of the gardens used running water in subtle but powerful ways — creating atmosphere, sound, movement and sensory immersion. This strongly connects with my current research into kinetic and self-watering habitat sculptures, and reinforced my interest in exploring how moving water systems could become integrated into future public artworks.

Participation, Wellbeing and Community

The Eden Project garden also left a strong impression on me, particularly because of its participatory element involving young adults. I’m increasingly interested in how future projects could involve communities not only in workshops and co-design, but also in creating a sense of ownership and connection to the final piece.

Similarly, the Parkinson’s UK garden explored themes of wellbeing, accessibility and sensory experience in a way that felt thoughtful and emotionally grounded. Across the show there was a noticeable emphasis on gardens as spaces for healing, reflection and connection — ideas that closely align with my ambitions for future public sculpture projects.

Potential Collaborations and Future Directions

Another exciting discovery was a stand by Niche Products & Services, who create habitat-focused products including bug hotels and a nesting pillar designed for birds and bees. Their work immediately caught my attention because of how closely it aligns with my own interests in integrated habitat design.

They are local enough that there may even be opportunities for future collaboration, and I was particularly interested to learn that they also work in ecological consultancy. As my project develops and I begin exploring real-world installation sites, access to ecological knowledge and guidance could become incredibly valuable.

Reflections

Overall, the trip reinforced that the direction I’m moving in feels timely and relevant. I came away feeling inspired by how many designers and organisations are beginning to embrace biodiversity, wellbeing, participation and immersive sculptural environments as interconnected ideas rather than separate disciplines.

It also reminded me that there is growing space for artists to contribute meaningfully within environmental and landscape contexts — not simply as decoration, but as part of larger ecological and social systems.

I left with pages of notes, far too many photographs, and a head full of new ideas involving water, habitat structures, sculptural planting systems and collaborative possibilities.

This trip was another valuable step in the ongoing research and development process behind my evolving practice.