Lost in Execution: Why Woodland Sculpture?

I often work indoors but all of my major art projects take me outdoors – where I would rather be.  Anyone who follows my work knows that I spend hours photographing the groyne fields of Bexhill beach (Intervention).  However, I also work with a group of volunteers to maintain the pre-industrial heritage of the Highwoods.  This work allows me to contemplate broader issues about the environment and climate change.  It also provides a sense of connection with past generations who worked and lived in the woodland.

Woodland Fire

In this work, I want to consider the complexity of our natural and man-made environment. In my previous work – The Woven Path – a spiral was created in an area of bracken. By beating back the bracken new plant life has a chance to grow.  Woven Path involved the imposition of a spiral, a line. on an area of bracken.  This caused me to look again at other lines that we create in the landscape and question our current relationship with the woodland. As Bexhill’s population grows perhaps more people will seek to find a connection with nature by visiting this woodland and so build a relationship with the area in which they have chosen to live.

Artistic Influences

My new work is influenced by the environmental work of Paul Nash, British surrealist painter and war artists; one of the most important landscape artists of the first half of the twentieth century, Andy Goldsworthy, a British sculptor and photographer producing site-specific sculpture and land art situated in natural and urban settings and Keith A Pettit  a Sussex based wood engraver, sculptor and bonfire sculpture builder.

 

 

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