The aim of this essay is to investigate contemporary sculpture in the traditional exhibition room and in public space. The experience of the beholders' reception concerning emotions when encountering large scale and upside down artworks is investigated. Four sculptures of the Swedish contemporary artist Charlotte Gyllenhammar (b. 1963) were included in the study. In the analysis, sculpture theory, reception esthetics method, semiotics and psychoanalysis were used. The result shows that feelings of uncanniness arose from the large scale, unproportionate scale and that fragments of the sculpture were visible. The exhibition room made the sculptures appear placeless. The surrounding environment in public places was essential for interpretation. The titles were a central part of the production of meaning. Finally, the interpretaton of contemporary sculptures includes mulitilayerd and ambiguity feelings simultaneously juxtaposed.