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‘Woodlands for all’ project 2008

This project (with limited time and budget to complete it) was carved during May 2008 for the ‘Forest of Avon Trust‘, an organisation in Bristol that seek to promote the use of local woodlands in environmentally sustainable ways.

Four posts were sited at Jubilee Stone Wood near Backwell, on the edge of the Mendip Hills. Four others were fixed in at West Tanpit Wood, near Lower Failand and across the Avon gorge from Bristol. All eight posts were shallow-relief carved using long-lasting sweet chestnut logs, with designs chosen by young people and people with special needs from the area.

West Tanpit Wood

These posts stand a bit over 5 feet (1.5m) tall and mark a short circular route through the woods. If walking in early summer, the woods suddenly turn from being carpeted with the white flowers of wild garlic to the deep blue of native British bluebells – very beautiful indeed.

 

West Tanpit woods

 

A bird called a Dipper (which can sometimes be seen running about in the stream next to this post)

carved wooden dipper bird

 

Bluebells and Bumble bee

bluebells and bumble bee

 

Fern by a stream (before leaving the workshop)

wooden carved fern leaf

 

Oak leaves, acorns and a logpile, symbolising the two halves of the wood- native deciduous trees and commercial softwood plantation.

 

carved marker post

 

Jubilee Stone Wood

 

Jubilee Stone wood

 

Early Purple Orchid with Silver Washed Fritillary butterfly

carved orchid and butterfly

 

Robin singing on Ivy (before leaving the workshop)

carved robin and ivy

 

Sunset over Nailsea- the view next to this post

jubilee stone wood post

old elf

Wise old elf 2015

This character was carved as part of a project in Bristol, working with a professional storyteller and a local school to create wooden panels that form a storytelling trail through the school grounds.

In July 2015, I was invited to carve oak pictures as part of a project at St Chad’s primary school in Patchway, Bristol. The school was looking to get the pupils to generate their own stories.

Storyteller Martin Maudsley worked with them to create tales which were then told to me. I used the five stories to produce images that were then carved into oak plaques, which were set onto larch plinths in a small woodland in the school grounds.

 

storytelling trail carved wooden panels

 

One plaque tells a story about a storytelling dragon that befriends a village. At first, the villagers are advised by a little girl to turn their backs, to stop them being frightened by the dragon.

 

wood carving of a dragon talking to people

 

Another shows a person who is helped by birds to plant a magic garden. The small squares are caps of oak covering the stainless steel screws that hold the plaques firmly onto the larch plinths.

 

storytelling

 

This story is about a secret garden hidden by ancient trees, which is uncovered by reciting the magic words.

 

storytelling trail

 

This plaque shows an old elf called the ‘Father of the Forest’. The surrounding leaves are all from trees that grow in the small woodland that the trail winds through.

 

old elf

 

oak relief carving

 

Finally there is a story about St Chad (a Saxon boy) and the people he meets on his adventures.

 

relief carving of St Chad

 

I also made some benches from durable larch timber, for children to sit on and make up their own stories (or just play!)

 

benches made from larch

Part of the project also involved carving a panel live at Patchway community festival in Bristol, which was a lot of fun and meant that I also got to meet some of the parents whose children go to St Chads.

Carving at Patchway festival

 

Carved panels using braille 2016

These oak panels, featuring braille as part of their design, are part of a permanent installation at the Brunel building in Southmead hospital – a major healthcare facility in Bristol.

Initially, the commission was to make an artwork that would include words and phrases chosen by patient’s knitting and writing groups as being important to them. As part of the making process there also had to be an opportunity for patients, visitors and staff to try their hand at carving parts of it during two hospital open days.

 

woodcarving the braille panel at Southmead hospital

 

On visiting Southmead, I realised that most wall-hung artworks there didn’t really give much opportunity for blind or partially-sighted people to interact with them. They were mainly prints behind glass.

Working with guidance from local braille users, together with organisations and blind artists from around the country (particularly Alan Michael Rayner), I designed a touch sculpture that also includes braille as a fundamental part. The Bristol Braillists group were particularly helpful with this area of the project. Paul and Hazel from the group even visited my workshop to give help and advice on the design.

 

making a sculpture for blind people

 

Eventually, the installation developed into three panels. The largest one shows the patient’s groups knitting and writing, together with a carver (who might that be?). The knitting, writing and carving is spilling off the table to become a landscape with the important words and phrases written on it. In the top right-hand corner are well-known buildings in Bristol. Above it all is a description in braille, made from brass pins that have been fixed into the oak.

 

braille woodcarving

 

The second panel shows a much smaller version of the main panel (a bit bigger than A4 size), with different features labelled in braille. This was suggested by Camilla at Living Paintings, who pointed out that blind people can get ‘lost’ when feeling their way through a large area. This small orientation panel allows visitors who are using touch to work out where they are going on the larger artwork.

 

braille on woodcarving

 

The third panel is a key to Grade one braille, so that sighted visitors who would like to work out what the braille on the other panels says can do so. There are several types of braille, with grade one being the simplest – a letter-by-letter translation. This inspired some discussion about whether it was the best form to use, as most British braillists use Grade two braille which is quicker to type out and to read. However, most users felt that people who weren’t so confident in reading braille and those from other countries would find this form easier to understand.

 

grade one braille key

 

Once the panels had been fitted in March 2016, the installation was unveiled by the Chief Executive of NHS South-west, Andrea Young. She is standing in the centre of the photo below with Ruth, the arts director for Southmead, standing to the left of the picture. It was great to see that Paul and Hazel, who had helped in the design, could make it to the unveiling too.

 

south mead hospital braille artwork

 

I really appreciated the opportunity to explore new ways of interaction with public carved sculpture but also being given the chance to find out more, as a sighted person, about how blind and partially sighted people interact with the world around them. I hope that the things learnt can be incorporated into future projects and thank you to everyone who generously gave their time to help me with practical advice and suggestions.

Leigh Woods Centenary bench 2009

This bench was installed on Stokeleigh Camp Iron Age hill fort, at Leigh Woods near Bristol. It was commissioned by the National Trust to commemorate the centenary of the land being given to the Trust by the Wills family.

 

leigh woods inscription

 

The oak used came from trees felled in the same woods and the timber was milled, carved and the bench constructed on site during the summer of 2009.

 

two man chainsaw mill

 

The bench is 2.75 metres (9 feet) long. As the site is heavily protected, the design had to be sturdy enough not to require fixing to the ground and it could not be raised up on slabs or similar.

 

carving leigh woods bench

 

The carvings show aspects of the natural history and ancient history of the area. Researching them was really enjoyable – including holding locally-found artefacts such as a Celtic bronze torc, which was around two thousand years old, at Bristol Museum.

 

celtic wood carving

 

Here are some examples of the carvings on the bench. This dormouse is hibernating with its tail wrapped around it. Dormice live in the surrounding woods and are quite rare.

 

dormouse on leigh woods bench

 

This beautiful triskele design came from the end of a Celtic torc that was discovered in the River Avon at nearby Clevedon. The original is gold and can now be seen in the British Museum.

 

celtic torc design