Art review Exuberant work hums with life in sculptors' joint show

It is a bright and sunny day in Somerset, and out on the neatly mown lawn at Hauser & Wirth, Niki de Saint Phalle's voluptuous nanas ("girls") are positively sparkling.

- Chloé Ashby

It is a bright and sunny day in Somerset, and out on the neatly mown lawn at Hauser & Wirth, Niki de Saint Phalle's voluptuous nanas ("girls") are positively sparkling. There are three of them (a nod to Botticelli's three graces): one silver, one black, one white, all made from polyester jazzed up with colourful mosaic and shimmering mirrors.

She has captured them mid-twirl, arms tossed in the air like they just don't care, legs kicked out at jaunty angles. They are joyful and radiant, monumental and robust, dancers and warriors.

Saint Phalle, a French American artist, began creating her abstract sculptures of women in the mid-60s, a decade after she first met the Swiss sculptor Jean Tinguely in Paris. He was married and so was she but five years later, both divorced, they got together; by the time they were married in 1971 both were seeing other people.

It was a complicated, sometimes competitive relationship - romantically and artistically - during which they collaborated and supported each other creatively until Tinguely's death in 1991.