Since the beginning of the trail in 1986, 26 artists and photographers have been commissioned to create site specific work.
Andrew Darke was born in Preston, Lancashire in 1948He had no formal art education and began making sculpture in 1965. He moved to Forest of Dean in 1983, working extensively with wood. He has exhibited widely in group and one-person exhibitions in the UK since taking part in the Yorkshire Sculpture Park inaugural exhibition in 1977.
Much of his work has centered around outdoor sculpture and he has undertaken an extensive range of commissions on public and private sites, residencies (including the Forest of Dean 1985, hosted by the Forestry Commission and Arnolfini Bristol), and consultancy and design collaborations in the area of public art. He has work in many public collections.
He was a Trustee of the Forest of Dean Sculpture Trail 1987-99 and was a founder member of the group Art & Place in 1989, subsequently PLACE from 1994, which has made and advocated for, a number of proposals for Cardiff Bay. The group works on ideas, proposals and papers for publication, which range across the fields of art and the environment. Current concerns include the impacts of both mobile telephony infrastructure and power lines in the environment (in particular, aesthetics). Work is also underway on a book covering the Cardiff proposals.
Appointed in 2007, Cattrell was selected as joint winner of the Bombay Sapphire Glass Prize. She also had work in a show at the V&A in London in which her work clearly demonstrated her commitment to exploring complex details of structures and light. Echo, Annie’s sculpture for the Trail, provides another interpretation of the forest, responding to the geological history and the material nature of the landscape.
Located in, and cast from, Kensley Quarry, Echo nestles opposite its source. Like a 3D photograph, a moment in the life of the 310million year lifetime of pennant sandstone has been frozen in time, every detail is there to discover in the surface of the sculpture.
Lives in the Forest of Dean, Gloucestershire, UK.
1995 – 2000 Trustee Forest of Dean Sculpture Trust and 2000/1 project manager for Neville Gabie, Stefan Gec, Reinhild Beuther and Philip Reilly; Associate and former Advisory Board Member Braziers International Artists’ Workshop; former Trustee Kingsgate Workshops Trust and Gallery, London; founder member Artspace Bristol and co-initiator Bristol Sculpture Shed, both now Spike Island.
2013/16 initiator and co-curator of Difference Screen, an evolving project of international artists’ moving image reflecting on changing realities through portraits of people and place, travelling across 20 countries over 2.5 years www.differencescreen.net
Bruce Allan has a multi-disciplinary approach and enjoys working with other artists and in different media. He has initiated, co-produced and participated in exhibitions, residencies and workshops in Britain and Europe including Hanover, Germany; Opole Institute of Art and Wroclaw Academy, Poland; Artisterium, Tbilisi, Georgia; Gyumri Biennial, Yerevan and Gyumri, Armenia. Further afield he has been a participant in international art events including Nine Dragon Heads travelling symposia originating in South Korea; Revive Time Kaki Tree Project, Japan; HweiLan International Artists Workshop, Taiwan; Khoj Kolkata and Periferry 1.0 India. www.axisweb.org/artist/bruceallan
Carole Drake was born in Bristol in 1963. She did an Art Foundation Course at Filton Technical College, Bristol 1980-81 and then studied for Joint Hons BA in Fine Art/Art History at Reading University from 1985 and an MA Fine Art at Newcastle Polytechnic in 1992. She subsequently obtained the National Certificate in Horticulture at Kirkley Hall College, Ponteland, Northumberland. 1997-98.
Since 1992 she has undertaken a number of installations in different parts of England in connection with residencies and production awards, with radio and television coverage and has held a number of teaching and administrative posts in art history and visual culture.
She was artist in residence in the Forest of Dean in the summer of 1995 and in 1997 had the Galloway Forest Park Residency, Dumfries and Galloway. Most recently, she has a Year of the Artist Residency – photo-synthetic:picturing plants at Kingston Maurward College, Dorchester, Dorset.
Cornelia Parker was born in Cheshire in 1956. She studied at Gloucester College of Art & Design 1974-75, Wolverhampton Polytechnic (B.A.Hons) 1975-78 and Reading University (M.F.A.) 1980-82. She currently lives and works in London. Since 1980 she has had solo exhibitions in England, France, Germany, Italy and taken part in group exhibitions in England, France, Italy, Germany, the Netherlands, Slovenia, Denmark, the USA and the 22nd International Biennal of Sao Paulo.
She was nominated for the Turner Prize (Tate Gallery) in 1997, where her featured work was Mass (Colder Darker Matter), a work constructed from the charred remains of a Texas church that was struck by lightening. She has undertaken residencies, projects and commissions in the UK and the USA and has work in many private and public collections including the Tate Gallery London, the Arts Council of England, the British Council and the Saatchi Collection London.
Her work Cold Dark Matter: An Exploded View (a garden shed and contents blown up for the Artist by the British Army, the fragments suspended on metal wire around a single light bulb), first shown at Chisenhale Gallery London in 1991 and subsequently purchased by the Tate Gallery, featured among the opening displays at the Tate Gallery Modern, Bankside London from May 2000.
David is an installation artist working across varied media including video, audio, interactive media, artificial intelligence, device control and hybrid technology. His work exhibits political, social and behavioural analyses of the environments and contexts, which he and his work inhabit.
Over the last ten years, his work has been extensively commissioned and exhibited in North America, Europe and the Far East, in gallery spaces, museums and within the public realm. Recent exhibitions include: Eastern Standard: Western Artists in China at MASS MoCA, Massachusetts, War and Medicine at the Wellcome Collection, London and Map Games at the Today Museum of Modern Art, Beijing and Birmingham City Art Gallery.
David is Professor of Fine Art at Sheffield Hallam University and has been a consultant to strategic master plans, cultural and public art policy for urban regeneration, healthcare and growth areas. He is represented by Danielle Arnaud contemporary art and is currently researching and developing new work with advanced simulation company Rockwell Collins, with the support of an Arts Council England fellowship.
David Nash was born Esher, Surrey in 1945. After a Foundation Course at Kingston College of Art 1963-64, he studied painting at Brighton College of Art 1964-67, sculpture at Kingston College of Art and sculpture at Chelsea School of Art 1969-70. In 1967 he moved to Blaenau Ffestiniog, North Wales.
David Nash is one of the pioneers of sculpture as a process involving nature and the environment. His work evolves out of a direct relationship with nature and the living forms of trees and he also employs the dynamic elements of fire and water in his sculptures.
He has undertaken commissions and has exhibited in countries throughout the world since 1973 and has work in many major public collections in Europe, North America and Japan. He has also been responsible for numerous publications about his work.
Erika Tan, born in Singapore in 1967, is a British-based artist and curator whose work has evolved from an interest in anthropology and the moving image. Her work is often informed by specific cultural, geographical or physical contexts; exploring different media to create situations that excite, provoke, question, confront and invite comments from an audience.
Her work has been exhibited as part of EAST International 2000 at Norwich Gallery, and was included in “Cities on the Move” at The Hayward Gallery. She recently completed a Film & Video Umbrella Commission and is currently producing new work for a permanent work commissioned by East England Arts. She has exhibited both in the UK and abroad. As an extension to her practice, Erika has also jointly curated and project managed art projects in association with Above:Below (an independent art organisation set up by Erika and Neil McConnon) such as: The ICA in China; Imaginaria Digital Art Prize ‘99; HUB @The RiCHMiX, an urban regeneration project; Souvenirs, interventionist project in Museum Street, London.
Erika has also had a long-standing interest and engagement with the Chinese Arts sector in Britain. Working as a Chinese Arts Worker and freelance research assistant/curator she has contributed to Half the Sky: Chinese Women in London, Museum of London, 1997. In Focus: Film and Video from the Chinese Diaspora: Britain and Another Province, Watermans Art Centre, London, 1997.
Erika studied Social Anthropology and Archaeology at Kings College, Cambridge; Film Directing at The Beijing Film Academy, followed by an M.A in Fine Art at Central Saint Martins School of Art, London. Awards have included: The Arts Council Black Arts Video Award, 1993. Firstbase, ACAVA Studio Award, 1995. Digital Arts Fellowship, The Arts Foundation, 1998. British Council Travel Grant to Japan, Arts Council Connections Fund to Singapore, 99/2000. Acme Studios Fire Station Live/Work Programme, London, 2001-2004.
Ian Hamilton Finlay was born in Nassau, the Bahamas in 1925. He returned to Glasgow in early childhood and (briefly) attended Glasgow School of Art.
He moved to London, did military service and then returned to Scotland where he worked as a shepherd. He published short stories and plays in the mid 1950s and moved to Edinburgh at the end of the 1950s. He founded the Wild Hawthorn Press, with Jesse McGuffe in 1961, initially publishing work by contemporary poets and artists and eventually exclusively by Finlay.
In 1964 he began to produce poems designed to be set in an environment and in 1966 moved to Stonypath with Sue Finlay and began to create the garden there. In 1978 he began “Five Year Hellenisation Plan” for Stonypath Garden , renamed “Little Sparta”. Ian Hamilton Finlay has worked on permanent landscaped installations, with the collaboration of other contributors, in many parts of Europe and the USA and has exhibited world-wide since his first exhibition at the Axiom Gallery, London in 1968.
He has been awarded honorary Doctorates by the University of Aberdeen and Heriot-Watt University, Edinburgh and was shortlisted for the Turner Prize, Tate Gallery, London in 1985. He has published numerous books and booklets, cards and folding cards, poems and prints and his work is documented in a number of exhibitions and monographs.
Ingemar Thalin comes from Malmö, Sweden. He works with a variety of media including etching, painting, installations and has exhibited in one person and group exhibitions, since 1984, in Spain, Brazil, Denmark, Sweden, Canada, Belgium, and the UK. His work is in churches, libraries and collections in many countries. Following the installation in the Forest of Dean, Ingemar Thalin worked in Korea and in Helsingborg, Sweden.
In the summer of 2002, just at the beginning of this residency, US President George Bush had started making hostile threats toward Iraq. In response, I initiated a ‘Peace Day’ in the Forest, linked to the Sculpture Trail, on Sept 21, the UN’s annual ‘Day of Peace’.
Community participation was encouraged through the local press and radio, and other artists were also invited to contribute, with stalls and activities both at Beechenhurst and at stops along the Sculpture Trail (for instance, at Beechenhurst, Erika Tan organised an Origami dove making workshop, and Sue Holpin sang ‘Flowers of the Forest’ at Bois Mort). I designed two sculptural shelter structures for the occasion.
The first, a floating white ‘Peace Shelter’ was suspended between trees at the Grove of Silence, for quiet contemplation. The second, a ‘Circle of Reflection’ at Beechenhurst, acted as both a play and gathering space during the afternoon, with members of the local community contributing songs and peace chants. Roving sound recorders captured both the music and people’s comments and thoughts on war and peace, Bush and Iraq. At twilight, hundreds of candles were lit around all the large oaks at Beechenhurst, and in the Circle of Reflection. Radio interviews were also given. The event gave local people the chance to be heard and to contribute creatively. It did not stop the war!
Near the beginning of the residency, while introducing Erika to a local hardware store, I was struck by the beauty of some thin copper tubing. Soon afterwards, on forest wanderings, I came across an unsuspecting dead beech tree to wind copper round, reinventing it as the more decorative variety, a ‘Copper Beech’. This particular tree, tucked away quite secretly, had been ring-barked by a forester’s axe, – a method of thinning, giving the other nearby surviving trees more room to grow. It was still sound and upright when I came across it, but not producing leaves anymore. The smoothness of the beech bark accepted the smoothness of the copper coil very well.
Being in the forest, and wandering through it, brought about a feeling of the interconnectedness of all life. So, a more private, yet photo-documented, action: wrapping a dead, road-kill squirrel in copper wire, digging a hole by the copper beech, lining the soil with copper, and burying the ‘copper squirrel’ in the ‘copper earth’.
This led on to work with children at Clearwell Primary School. First, we played the guessing game, ‘Animal, vegetable or mineral?’ with them, looking at life cycles and connections between one living thing or material and another. Then, we let them investigate this themselves while spending some time in the forest, and taking ‘Animal, vegetable or mineral’ photographs, both in the forest and in daily life. I then helped each child select one of their favourite photographs, to be printed on acetate. These see-through, overlapping and interconnected images were used in an installation on the Sculpture Trail, over the autumn half term week.
A few years ago the Copper Beech was mysteriously ‘recycled’ by someone and is no longer there. Only the underground copper and the squirrel bones remain, well hidden.
This happened in February 2003 at the edge of a small woodland clearing area near the Sculpture Trail path, on the other side of the path to the Grove of Silence. It happened against a background of the Iraq war ‘brewing’. I felt, along with many others, a sense of foreboding, and of frustration, of forces pulling in different directions and being bent by circumstances. This came out in the work.
In the Grove of Silence, where the Scots pine stand was substantially thinned many years ago, the remaining trees have had room to grow to a majestic size and height. A little further on from the Grove, on the other side of the path, some much younger trees, again mainly pine, have not been thinned and were growing together crowded and spindly.
Some were bent over, by wind or snow, or both, into beautiful, asymmetric arches. I had a few young pines thinned by ranger Andy Davis, to make more room for the remaining trees. Then some three or four pines, and one birch, were bent over into a curved composition with the already arched trees. The trees were arched over in different directions, leaving a forest tableau of both tension and grace, a feeling of both beauty and disturbance, unsettling, and puzzling, to look at – what can have happened here?
To my mind, the trees bowing down in different directions were suggestive of different religions – Islam, Christianity, Judaism, all worshipping and pointing in different directions (-not all neatly towards Mecca, for instance). Crossing one another, in tension. I wanted to bring this aspect more clearly to light by playing a recording of the Muslim muezzin’s ‘call to prayer’, from the top of a large pine, at intervals throughout the day.
Remnants may be left, but wind.blow.fell.bend is gradually falling back into the forest. New trees are now growing up, and no doubt more trees in the future will become gracefully windblown, or bent with snow.
Again, this work was as much a response to the Iraq war as to the theme of diversity. Charred tree roots, suggestive of death, war, and destruction, yet also of sheltering and endurance. The blackened roots take on a life of their own, and contrast well against the green, or the russet brown of bracken. Within death, new life growing, new seedling trees, sheltered by the charred roots.
A place, in the form of a sloping oak wood, on the Northern borders of the Sculpture Trail area, and looking down on the trail where it becomes one with the cycle path. There I came across the cut stump of a once large oak tree that had been completely felled, yet was managing to grow back into a many trunked ‘coppice’ tree. This tree became the heart of the work, in itself demonstrating great natural resilience and rejuvenation. Oak trees are of course also valuable for the great diversity of other living species that they support.
Through the circles of charred roots sheltering newly planted oaks, themselves circling the central survivor oak, a curving spine of bright orange roots, like some earth and fire creature, and close round the base of the central tree itself, three very large roots, one charred black, one white with casein paint, one green with lichen. The orange colour was made from the striking bright iron stained pigment found in some local streams, which also matches the colour of an orange lichen found growing on tree trunks throughout the forest. A zingy orange, wonderful with the bluebells in May.
My first instinct was to try to keep the orange and white colours bright with periodic repainting, but only for a season or two. Now the work is no longer signposted it has become a peaceful spot again, relaxing back into the forest. The orange ‘spine’ has gone, making the work less colourful, yet simpler.
Where the bracken was initially cleared many little oaks are now naturally regenerating. I may sneak back sometime with a few hazel seedlings, to add to the biodiversity.
This temporary installation came about from working as a member of the volunteer ‘Green Team’, on practical nature conservation tasks in the Forest of Dean.
Much of the Green Team’s work involves clearing birch trees and other invasive plants such as gorse from places that Forest Enterprise, the RSPB and the Gloucestershire Wildlife Trust would like to keep open and un-wooded. This is done in order to encourage particular birds, butterflies, rare plants and other non woodland or woodland edge species, thus increasing the area’s overall biodiversity. An example is the restoration of lowland heath at Tidenham Chase Nature Reserve, the home of many birds, – for instance, nightjars, stonechats, yellowhammers, linnets, and snipe, as well as other wildlife.
The piece was made using birch trees that had been cut down around the Sculpture Trail by Forest Enterprise staff as part of their routine thinning and path clearance work. It was inspired by the beauty and pioneering spirit of birch trees, forever growing up on open ground and seeding into woodland. A temporary memorial to all those birches cut down in the name of biodiversity and in the continuing nature conservation effort to create open areas around and amidst the forest.
Small trees, getting smaller with distance, and painted white for an ethereal look and to show up the tracery against dark trunks and branches, some apparently hanging like ghost trees in mid air… The trees were hung in an ascending and converging ‘V’ to create more perspective, and the sense of skyward floating birch ‘spirits’. The Latin name for silver birch is Betula pendula. The birch of ‘White Birches’ became a temporary new species, Betula alba ‘Ascendens’. Considering its fragility, the work lasted well. It was removed after about 8 months, when the suspended trees had started to become a bit brittle.
Keir Smith was born in Kent in 1950. He studied Fine Art at the University of Newcastle upon Tyne 1969-73 and at Chelsea School of Art 1973-75. He has, since 1977, exhibited extensively in solo and mixed exhibitions in the UK and has many publicly sited sculptures as well as work in public collections, including “Stefano” a large scale work in bronze for Sculpture at Goodwood in 1997 as a continuation of his interest in the art of the Renaissance.
His work features in a wide range of exhibition catalogues, books, newspapers reviews and art periodicals.
Kevin Atherton was born in 1950 in the Isle of Man. He studied at the Isle of Man College of Art 1968-69 and Leeds Polytechnic, Fine Art Department 1969-72
He has been a visiting lecturer, part-time teacher and external examiner in art colleges throughout the UK from 1972 and became a Specialist Adviser to the Fine Art Board, Council for National Academic Awards 1985-92. He was on the panel of Assessors for the Arts Council of England “Arts for Everyone” Lottery Fund 1997-99. Following a long period of teaching at Chelsea College of At and Desig 1982-98, Kevin Atherton was appointed the first Head of Media Department at the National College of Art and Design, Dublin in January 2000.
Kevin Atherton has exhibited widely since 1972, including performances and video and virtual reality installations in the UK, France, Belgium, the Netherlands and the USA. His work is in numerous public collections and he has received many awards. His best known public commissions include “A Body of Work” (ten life size bronze sections of pupils and staff commissioned by Tower Hamlets for Langdon Park School, Poplar); Three Bronze Deckchairs (Serpentine, London and Liverpool Garden Festival) 1984, the 1986 Platform Piece for Brixton Railway Station, and Iron Horses 1987, a sculpture in twelve parts commissioned by British Rail and the West Midlands County Council for the Birmingham to Wolverhampton railway corridor.
Magdalena Jetelova was born in 1946 in Semily, CSSR. She studied in Prague 1965-71 and took the opportunity to work for a year in Milan with Marino Marini in 1967/68.
In 1983 she showed a “staircase” work at Tate Gallery, London and subsequently had a one-person exhibitions at Riverside Studios, London (and a work in Kensington Gardens which was too large to show at Riverside Studios) , Arnolfini, Bristol and the Silvia Menzel Gallery, Berlin. She participated in the Hamburg Peace Biennal in 1985, the Sidney Biennal and Documents, Kassel. She was awarded first prize at the Philip Morris exhibition in Berlin and one of her most important works was acquired by Centre Pompidou, Paris. Resident until recently in Czechoslovakia, She now lives in Germany.
Magdalena Jetelova’s giant primitive structures were shown at the Riverside Studios, London and the Arnolfini Gallery, Bristol in 1985. She has also shown in the Sydney Biennale and at Documenta, Kassel. The giant chair structure “Place” is her only sculpture in this country.
Miles Davies was born in Leigh, Lancashire in 1959. After a Foundation Course at Leamington Spa School of Art 1978-79, he took a BA Honours Fine Art at Brighton Polytechnic 1978-81 and subsequently at Manchester Metropolitan University with a Henry Moore Fellowship 1992-93.
He has exhibited in one person and group exhibitions in England, France and Germany since 1980 with the assistance of awards from the British Council, the Bristol City Council and the Henry Moore Foundation. Miles Davies has undertaken commissions in several parts of England and his work is in collections in England, France and Germany.
Neville Gabie was born in Johannesburg, South Africa, 1959. He was the Lead Artist for the Year of the Artist projects, Forest of Dean Sculpture Trail 2000/01.
Recent exhibitions and projects include: Solo Exhibition, Civic Gallery Johannesburg 1998; MOMART Artist in Residence. Tate Gallery, Liverpool 1999-2000; Solo Exhibition Hales Galley, London 2000; Solo Exhibition Kirkby Gallery, with Knowsely Art Service and Liverpool Football Club Museum 2001, “POSTS” published Penguin Books 1999; Saskawa International Photography Prize. Tokyo Metropolitan Museum of Photography 2001.
Whilst Artist in Residence at the Tate Gallery. Liverpool, the focus of the work was based around areas of urban regeneration. In an on-gonq project entitled “An A-Z of Empty Spaces” Neville began to consider the spaces and places, once homes and now left vacant. The objects left behind and notions of “home and belonging”. The tower block, Kenley Close was one such building.
Peter Appleton was born Liverpool, England in 1945. After a Foundation Course at Chester College of Art 1973-74 he did a BA in Fine Art at Newcastle upon Tyne University 1974-78. He worked as an oil rigger 1978-79 and then as part-time 3D designer in the Greek Museum, University of Newcastle upon Tyne1979-80 before doing an MA in Fine Art, Newcastle upon Tyne University 1980-82. He now lives in Exeter, where he has taught part-time at Sheffield College of Art, Exeter College of Art, Falmouth School of Art and is currently Course Leader, Interactive Arts, University of Wales College, Newport.
Combining sound and sculpture with an element of participation, Peter Appleton is one of the pioneers of a new form of sculpture, shown at the Arnolfini, Bristol 1985, and then nationwide, in the exhibition A Noise In Your Eye. Peter Appleton was one of three Artists-in-Residence in the Forest during 1986 He has received UK Fellowships and awards from Regional Arts Boards and has had One-person shows in many parts of England and in The Netherlands.
Peter Randall-Page was born in Essex in 1954. He studied at Bath Academy of Art 1973-77. He then worked with Barry Flanagan and moved to London. After working on the conservation of 13th century sculpture at Wells Cathedral in 1980, he won a Winston Churchill Memorial Trust Travelling Fellowship to study marble carving in Italy in 1980.
He worked on the “New Milestones” project with the assistance of Common Ground 1986-7and moved to Devon in 1987. He took part in the “Local Distinctiveness Project” with the assistance of Common Ground in 1989-96 and was artists in residence at the University of Tasmania in 1994. Peter Randall-Page was awarded an Honorary Doctorate of Arts from the University of Plymouth in 1999. He has, since 1980, had one-person exhibitions and taken part in group exhibitions in the UK, mainland Europe and Australia. He has undertaken an extensive range of commissions in the UK and Japan and has work in many public collections.
Reinhild Beuther was born in 1970 in Rostock, East Germany. She studied Art History at the Humboldt University Berlin, 1990-1992 and then Sculpture, Ceramics and Photography at the Hochschule fur Kunst und Design Halle “Burg Giebichenstein” and Muthesius Hochschule in Kiel, Germany 1992-95, and an MA in Sculpture at the Royal College of Art, London in 1997. She was DAAD (German Academic Exchange Service) scholar at the Royal College of Art, London 1995-96 and had a Henry Moore Scholarship at the RCA, London 1996-97. Awards have included Merit Award, Aylesford Newsprint 1997; Deloite and Touche First Prize for Excellence 1997; First Base Award, ACAVA 1998-99.
She undertook a six month digital artist residency in Gloucester 1999; was artist in residence at the Poetry Festival, Ledbury, Gloucestershire 2000; artist in residence at the Sculpture Trail, Royal Forest of Dean, Gloucestershire 2000.
Reinhild Beuther has exhibited widely in Great Britain and other parts of Europe, including : 1996 “Phobic” group show at Hockney Gallery, London, 1996 “GlovesOff” group show of German artists in the Shoreditch Town Hall, London, 1997 “Below Stairs” site specific show at Osterley Park House, 1997 “hothouse” exhibition in Kew Gardens, 1998 “Fire” video projection at Schloss Broellin, Germany, Sophiensale Berlin and Officina Gallery, Szehezin, Poland, 1998 “repeat” solo show with video work at Banbury Museum, 1999 “Absolut Melancholie”, touring solo show of photographic work in Central Point Gallery, London and Guildhall Arts Centre, Gloucester, 1999 “little mermaid” video installation as part of the “Single Screen” event, Forest of Dean, 2000 “Absolut Melancholie”, solo show at the NIMRC London, 2000 exhibition in Ledbury as part of Ledbury Poetry Festival, 2000 “Going Nowhere Fast”, group show at ACAVA, Cremer Street Studios, London, 2001 “Naked Nave”, sound exhibition at Gloucester Cathedral, 2001 “Beholden”, solo exhibition at Art and Design Gallery, Hatfield, University of Hertfordshire.
Extensive work in sculpture, photography, digital imagery and video installations workshops include : Animationstation in Banbury 1998/99; residency/workshops at Churchdown, Chosen Hill and Harewood schools, Gloucester, 1999; John Maisfield Highschool, Ledbury as part of the Poetry Festival 2000 and teacher training workshops in Gloucester, Worcester and Herefordshire. Reinhild Beuther is a founder member of the artist run initiative artNucleus (see “Below Stairs”, “Naked Nave”) and lives with her partner Simon and their son Fridtjof in Gloucester.
Sophie Ryder was born in London in 1963.She studied at Kingston Polytechnic 1980-81 and the Royal Academy Schools, London 1981-84. She has exhibited her work in solo exhibitions group exhibitions and Art Fairs since 1984 in many parts of the UK, mainland Europe, the USA, Canada, Belgium and the Netherlands. Sophie Ryder has also undertaken a number of residencies, including the Yorkshire Sculpture Park and Grizedale Forest 1986, Salisbury Cathedral 1987, Forest of Dean 1988, Kilkenny, Eire 1992, Boulogne, France 1996 and Cheekwood Sculpture Park, Nashville, Tennessee, USA 1997. Her work is included in public and corporate collections in the UK and Eire.
Tim Lees studied Geology and Stone Masonry and trained as a geologist at Bristol University. His first one-man exhibition was in 1986 at the Arnolfini Gallery, Bristol.
“I work materials to try to bring out their qualities by making textures and shapes which link together.”
Yvette Martin graduated from Loughborough College of Art. Her July to September 1986 Residency in the Forest of Dean was funded by the Carnegie United Kingdom Trust and South West Arts.
Zadok Ben-David was born in Bayhan, Yemen in 1949 and emmigrated to Israel. He studied at Bezalel Academy of Art & Design, Jerusalem 1971-73 , arrived in England in 1974 and was Assistant to N H Azaz. After studying Fine Arts at Reading University in 1975 he went on to the advanced course in sculpture at St Martin’s School of Art, London in 1976. He taught sculpture at St Martin’s School of Art 1977-82 and at Ravensbourne College of Art and Design Bromley 1982-85. In 1987 he was Artist in Residence at Stoke-on-Trent Museum.
Zadok Ben-David has had solo exhibitions since 1980 in the UK, the Netherlands, the USA, Belgium, the Netherlands, Germany, Australia, Israel Singapore and has exhibited internationally in group exhibitions. He represented Israel at the 1988 Venice Biennale. He has undertaken Public commissions in Israel, the UK, Portugal and has work in Public collections in the UK, Europe, Israel, USA and Australia.