Burrator Reservoir
Click through the gallery below to discover three artists’ responses to the extensive conifer plantation on the fringe of the moor
When Burrator Dam was completed in 1898 Burrator Woodland was planted to protect the water catchment and for timber production. In recent times large strands of infected larch have been felled. They have been replanted with a greater range of species, so increasing biodiversity and improving the local landscape. Extensive remains of hut circles, old farmsteads and tin mining lie within the wood.
Dartmoor Oaks and Rocks, Burrator Tryptich
Charcoal and chalk on paper, 86 x 183 cm
Drawing has always been fundamental to Kevin Tole. In recent years his focus has shifted to large charcoal drawings. This began with a year-long study of three trees on the edge of Dartmoor, during which he produced an A1-sized charcoal drawing every week. He continues to represent the environment using charcoal, often incorporating material found in and around the location or charcoal made from the subject trees.
Drawing has always been fundamental to Kevin Tole. In recent years his focus has shifted to large charcoal drawings. This began with a year-long study of three trees on the edge of Dartmoor, during which he produced an A1-sized charcoal drawing every week.
Tole continues to represent the environment using charcoal, often incorporating material found in and around the location or charcoal made from the subject trees.
Clearbrook Beech (Fagus sylvatica) in Autumn
Handmade charcoal, compressed charcoal, white chalk and conte on paper, 100 x 74 cm
Drawing has always been fundamental to Kevin Tole. In recent years his focus has shifted to large charcoal drawings. This began with a year-long study of three trees on the edge of Dartmoor, during which he produced an A1-sized charcoal drawing every week. He continues to represent the environment using charcoal, often incorporating material found in and around the location or charcoal made from the subject trees.
Drawing has always been fundamental to Kevin Tole. In recent years his focus has shifted to large charcoal drawings. This began with a year-long study of three trees on the edge of Dartmoor, during which he produced an A1-sized charcoal drawing every week.
Tole continues to represent the environment using charcoal, often incorporating material found in and around the location or charcoal made from the subject trees.
Dartmoor Lines 1
Colour lino print, 50 x 58 cm
Peter Ursem’s art is focused on relief printmaking techniques (woodcuts and linocut prints), in particular multi-layered coloured lino prints. The landscape has remained an important theme in his work. He likens his experience of landscapes to that of a Romantic. He is interested in their atmospheres, the stories they call up and their ‘genius loci’ (spirit of place).
Peter Ursem’s art is focused on relief printmaking techniques (woodcuts and linocut prints), in particular multi-layered coloured lino prints.
The landscape has remained an important theme in Ursem’s work. He likens his experience of landscapes to that of a Romantic. He is interested in their atmospheres, the stories they call up and their ‘genius loci’ (spirit of place).
Dartmoor Lines 2
Colour lino print, 50 x 58 cm
Peter Ursem’s art is focused on relief printmaking techniques (woodcuts and linocut prints), in particular multi-layered coloured lino prints. The landscape has remained an important theme in his work. He likens his experience of landscapes to that of a Romantic. He is interested in their atmospheres, the stories they call up and their ‘genius loci’ (spirit of place).
Peter Ursem’s art is focused on relief printmaking techniques (woodcuts and linocut prints), in particular multi-layered coloured lino prints.
The landscape has remained an important theme in Ursem’s work. He likens his experience of landscapes to that of a Romantic. He is interested in their atmospheres, the stories they call up and their ‘genius loci’ (spirit of place).
This preparatory sketch gives an insight into the artistic process that led to the final print.
Dartmoor Lines 3
Colour lino print, 50 x 58 cm
Peter Ursem’s art is focused on relief printmaking techniques (woodcuts and linocut prints), in particular multi-layered coloured lino prints. The landscape has remained an important theme in his work. He likens his experience of landscapes to that of a Romantic. He is interested in their atmospheres, the stories they call up and their ‘genius loci’ (spirit of place)
Peter Ursem’s art is focused on relief printmaking techniques (woodcuts and linocut prints), in particular multi-layered coloured lino prints.
The landscape has remained an important theme in Ursem’s work. He likens his experience of landscapes to that of a Romantic. He is interested in their atmospheres, the stories they call up and their ‘genius loci’ (spirit of place).
This preparatory sketch gives an insight into the artistic process that led to the final print.
A Walk from Yelverton, Dartmoor (Mosses and Lichen at the Edge of the Burrator)
Ink and watercolour, 40 x 57 cm
When discussing her artistic approach, Philippa Beale explains: ‘My function is not to record particular trees. It is instead to find new and original ways of painting.’ She continues to be inspired by trees and recognizes their immense importance. ‘Trees have inspired temples, cathedrals and deities. They provide shelter, harbour nature in all its forms and in a real sense keep us alive.’
When discussing her artistic approach, Philippa Beale explains: ‘My function is not to record particular trees. It is instead to find new and original ways of painting.’
Beale continues to be inspired by trees and recognizes their immense importance. ‘Trees have inspired temples, cathedrals and deities. They provide shelter, harbour nature in all its forms and in a real sense keep us alive.’
Gallery
This exhibition was supported by
