Lee Grandjean - The Black King 2016.
Timber with found root wood, constructed and painted on plywood base with collage, varnished.
30 x 15 x 14

Lee Grandjean - Drift 2016,
Timber with found root wood, painted and varnished 10 x 15 x 24

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Ian Tyson
Drawing for installation of wooden maquettes entitled 'Things Left Behind'.

 

Tim Plunkett - Turned wooden bowl
Tim Plunkett studied environmental sciences and has been involved in direct action to oppose the destruction of ancient forests and cultures. He aims to produce simple, elegant uncluttered pieces which show the unique character of each species of tree, which all come from sustainable local sources.

 

Roger Ackling - 1947-2014 Photo: John Riddy
Roger agreed to this exhibition in the year before he died of motor neurone disease. This photograph was used to publicise a book of essays by his former students and colleagues:
Roger Ackling: Between the Lines, edited by Emma Kalkhoven.

Roger Ackling - Voewood, 2009 Sunlight on wood with metal
Roger Ackling was a master at making beauty from almost nothing. This classic work, using waste wood and the rays of the sun focused to create regular marks, exemplifies the time and careful judgement it required. Qualities of calm and concentration are somehow always evident.

Roger Ackling & Richard Long - Untitled, 2006
Sunlight and mud fingerprint on wood
The two artists made a number of works together in 2006, which were exhibited in New York. The last few remaining examples will be on show in Sunlight and Gravity.

 

Practice page

Calum McClure - Falling Tree 2012
170 x 122cms, oil on board.

‘Out of the Wood’
5 November-17 December 2016

Work by:
Dominic Ash
Lorraine Bewick
Lee Grandjean
Cordelia Spalding
Calum McClure
Par Avion
Tim Plunkett
Tim Simmons
Tara Books and Gond artists from India
Ian Tyson
Toby Winteringham

Out of the Wood celebrated trees, forests and the art of wood. The exhibition included a range of work from the lyrical to the practical. Its aim was to raise awareness of the beauty and usefulness of wood and trees in our lives, showing a variety of ways in which woods, forests and trees inspire images and stories, and equally can provide a precise and versatile creative medium. It included work by artists who  made atmospheric painted and photographic images in forests, as well as those who carve out of the wood, sculpting, modelling, shaping and turning timber into artefacts.

Although the exhibition is finished, the gallery's work with trees and forests as a subject continues, with a campaign together with the local Civic Trust for street trees for King's Lynn. Involvement continues with many of the artists, as associates of the gallery and its concern with environment.

Film of exhibits and exhibitors by James Murray-White.

Cordelia Spalding
Norwich based artist and workshop leader, Doo Gurney, has made woodcuts, drawings and engravings based on the gnarled patterns of bark and tree rings. She has experimented with patterns and forms, and her graphic style has a retro, slightly surrealist quality. A Woodland Trust selected artist, her carvings and engravings use discarded laminate engineered floorboards, the shavings from machined timber, twigs and copper wire

Lee Grandjean
Lee Grandjean, formerly deputy head of sculpture at the Royal College of Art, explores wood as a surreal medium for sculpture. Living deep in the country and always sensitive to the suggestiveness of natural forms, he is an intuitive and opportunist user of found eccentricity. He has made little assemblages, incorporating roots and branches with geometric forms, some painted, some left in a natural state. They verge on the figurative and are shape-shifters, leaving room for the imagination. Images cross over between nature and artifice and their titles hint at deeper stories yet to be created

Calum McClure
Calum McClure is a painter and printmaker based at Glasgow Print Studio. His work is steeped in the experience of nature and landscape, full of the colour and atmosphere of European and North American woodlands. He is fascinated by reflections and light and shade, but as a painter, this leads him to rethink how specific responses to nature can become expressed in lateral rather than literal form. His images range from the closely detailed, to those which verge on the abstract evoking a quality of dry or damp woodland atmosphere but at the same time remaining true to the particular sense of each place.

Calum McClure - Leaves and Reeds on Reflection 2013
80 x 60cms, oil on board

Tim Simmons - Swamp #6
90 x 61.5 Edition 10 + 2AP

Tim Simmons
The strange beauty of forests, is represented by Tim Simmons’s dramatic photographs of dense woods and their undergrowth from Norfolk and the United States. Tim’s work has a symbolic dimension, connecting landscape with ideas about time, isolation, distance, motion, movement of the earth. He often uses artificial lighting to enhance the natural conditions. The effect of this is an intense clarity, a sense of mystery and expectation, showing us an aspect of nature with greater intensity.

Ian Tyson
The precision and angularity of Concrete Art and modernism lie at the root of the work of Ian Tyson, renowned internationally for many years as a book and print artist. He lives and works in the South of France and the intensity of the light and shade has inspired in his work an ever crisper three-dimensional form, leading him to work increasingly as a sculptor. Here, he is showing a collection of reliefs and sculptures which climb up the wall like an abstract forest. Tyson’s work is minimal and measured and made from carefully judged, formal elements which nevertheless explore the hardness of timber and the natural colour of each species.

Ian Tyson - Things Left Behind.
Installation for Out of the Wood, 2016.

Lorraine Bewick - Glade 2016
30cm x 24cm Oil on Canvas

Cordelia Spalding
Norwich based artist and workshop leader, Doo Gurney, has made woodcuts, drawings and engravings based on the gnarled patterns of bark and tree rings. She has experimented with patterns and forms, and her graphic style has a retro, slightly surrealist quality. A Woodland Trust selected artist, her carvings and engravings use discarded laminate engineered floorboards, the shavings from machined timber, twigs and copper wire

Lorraine Bewick
Lorraine Bewick’s work reflects her home environment on the edge of a country house estate, bordering once productive orchards and the wide open landscapes of the coast. Her paintings of the Wash and North and West Norfolk capture isolated panoramas and luminous light. Trees, bark, and fruits in her orchard appear in her work and she records them as small monuments to specific details and atmosphere of her local places.

 

Tim Plunkett
Tim Plunkett began his career as an environmentalist, graduating in environmental sciences from the University of East Anglia. He is seriously knowledgeable not only about the properties of trees and their habitats, but about the politics of conservation of woods and forests. As a designer, he only uses native hardwoods, locally sourced, and is showing a range of bowls and boards finely turned and finished over two seasons.

Table furniture by Par Avion and Dominic Ash
Furniture for the table can share the attention to detail and craftsmanship of a work of art, turning a festive dining occasion into an opportunity for display of fine craft. Dominic Ash from Dorset is showing salt and pepper table sets made from oak and ash.  Par Avion domestic and exhibition furniture designers have made peppermills from bog oak cut with sharp precision.

Trees and environment
Trees shape our environment in essential ways. Trees have been described as the lungs of the earth. They absorb carbon dioxide from the atmosphere and release oxygen. The burning of fossil fuels·does the reverse, taking oxygen out of the atmosphere and releasing carbon dioxide (CO2), which creates harmful greenhouse gases which·trap hot air. So, in counteracting this effect, trees help to reduce the amount of greenhouse gases which contribute to global warming. Trees anchor the soil in fragile conditions, such as river banks or hill sides. They provide boundaries, shade, shelter and rich habitats for wildlife. However, in terms of the relationship between trees and a healthy environment for the world, we are not ‘out of the wood’ by any means. Trees are vulnerable. Within recent memory, forests in public ownership in the UK were threatened by a government keen to sell them off. This is one reason why the Woodland Trust is aiming to commemorate the original forest charter of 1217 with a new mission to protect trees, gathering support and stories towards a new charter of trees, woods and people by November 2017. GroundWork Gallery is one of more than fifty national Charter Champions for this campaign.   www.woodlandtrust.org.uk

Members of the Gond and Bhil peoples, forest dwellers of Central India create handmade illustrated books, which bring alive their sense of an environment full of beauty, wildlife, and folklore. A selection of these, published by Tara Books, is on show in the upper gallery project space. Hanging above the stairwell is a large patterned bark cloth from the island of Tonga in the South Pacific Ocean region, made from the beaten bark of the Paper Mulberry Tree.

 

Opening exhibition
16 July-30 October 2016
‘Sunlight and Gravity’

Works by Roger Ackling and Richard Long

This exhibition celebrates a life-long friendship between two of the most innovative artists who have worked with nature, the elements and the environment. On show are some of the reliefs by Roger Ackling from the 1980s to the 2000s made with driftwood, using the rays of the sun focused with a magnifying glass as a medium to create marks.

Richard Long is showing pictures made with mud from the river Avon near his Bristol home and he has made a new Great Ouse Mud drawing, with mud from the Great Ouse river which runs through King’s Lynn. In both cases the artists created images without direct use of the hand.

The Great Ouse River Drawing - By Richard Long, July 2016.
The first work a visitor to GroundWork gallery sees is Richard Long’s dramatic splash mud drawing, made in situ for the opening exhibition ‘Sunlight and Gravity’. It remains, opposite the entrance, as a signature work and talking point. People have already said how it reminds them of the essence of a river, of long–flowing tresses of hair, of the bark of a tree. In a similar way it will form a starting point for a dialogue with each new exhibition, and it will be interesting to see what kind of different interpretations emerge.
Photo by Veronica Sekules

Richard Long, Great Ouse Mud Drawing 2016 in situ, GroundWork Gallery
Photo by Steve Jackson

The exhibition is a memorial tribute to Roger Ackling who died at his home in Norfolk during its planning in 2014. Some of his unique weather diaries will be on show for the first time.

Richard Long and Roger Ackling joint works installed in GroundWork Gallery

Above and below: Works by Roger Ackling installed in GroundWork Gallery

A rare picture of Roger making work by burning with a magnifying glass onto card. Taken in France by Isabella Oulton.

Roger Ackling - Sunlight on Sunday 10.10.10 at 10, 2010 Sunlight on wood
This work is self-explanatory but like much of Roger’s work it is more complex than it seems. It reveals a lot about his wit and humour, and sense of occasion. But also, it celebrates the special nature of time and place, the point at which all forces are gathered in unison in a never-to-be repeated way.