Stills

As Christina says, the surroundings here are perfect. In the endless discussion about photographing sculpture, my view is that something that is outside can only be seen two ways: by visiting it and by having a representation/interpretation; and we can't always get to it. The more abstract it is, the more acceptable it is for the photographer to present a photo of a sculpture (Rex has done some excellent interpretations of Hepworth's work); at the end of the scale that you are working with the permissive threshold from the viewer is lowered. But this is a good case of 'allowing' (encouraging even) a photo of a sculpture (leaving aside the attractions of the statue). One gets to see the work and gets a good picture into the bargain.

Is it me or is the face European?
 

Spring, love, joy, enthusiasm, youth, almost a Woodstock revival!
 

I like the way this figure is emerging from the carpet of flowers. It is the setting and composition that you have choosen that makes this special.
 

One of the things that I find about photos of sculpure is that I look at the sculpture more in its context in a photo that I do in reality. There is a temptation with the real thing to get too close to it. A bit like pixel peepling, the point of (most) sculpture isn't the grain of the material.

So, here, with the light just right and the figure emerging from the vegetation - I can imagine that this was something that the sculptor envisaged.
 

I find myself agreeing with all of the above comments, of the emerging nude from the carpet of flowers, especially the Woodstock thought (yeah, I'm that old). Typically I would be concerned with the very light forground as being distracting, but for this image, I don't have that concern as much.
 

I think Colin is on the right track as to why this works; this sculpture seems like a work meant to be viewed from a distance or glimpsed at through the trees. If it was indoors, I'd imagine the best view would be through a cracked doorway.
 

Thanks for all the comments. John - my recollection is that the sculptor was European thus the features. It wasn't until I scanned it I noticed the strong highlights on the sculpture. As I walked around the museum I got a stronger and stronger feeling of deliberate placement of many of the pieces based upon environment. It added to the enjoyment. As you walk around the streets of Tokyo you come across many pieces of sculpture brightening up the neighbourhood but most are placed with little thought of their environment.