Wistmans Wood
Click through the gallery below to discover seven artists’ responses to the fragmented ancient woodland
Wistman’s Wood is characterised by stunted and twisted epiphyte-covered oak trees. It is a relic of the once widespread coppice woodland that was used to make charcoal for smelting tin. The landscape contains extensive remains of Bronze Age settlement as well as of medieval mining. Many legends are associated with the wood, including tales of devil hounds that slept by day in the hollows between granite boulders then hunted with the devil by night.
Old Friends (Wistmans Wood)
Watercolour, 69 x 86 cm
In response to the question ‘Why do I paint trees?’ Tim Craven says: ‘I have always been drawn to the optical fuzz of organic pattern and the spatial thrill and complexity of trees as an abstract subject. The strong verticals and diagonals of their trunks, branches and foliage give an infinite variety of form through the seasons. I also claim their Romantic associations, rich art-historical legacy and profound connections with the human condition.’
In response to the question ‘Why do I paint trees?’ Tim Craven says: ‘I have always been drawn to the optical fuzz of organic pattern and the spatial thrill and complexity of trees as an abstract subject. The strong verticals and diagonals of their trunks, branches and foliage give an infinite variety of form through the seasons. I also claim their Romantic associations, rich art-historical legacy and profound connections with the human condition.’
This photograph of the trees at Wistman’s Wood gives a sense of the landscape which inspired Craven to create this painting.
Lichen Covered Boulders
Oil on linen, 50 x 60 cm
Spending time exploring the landscape of Dartmoor was the perfect opportunity for Fiona McIntyre to express her love of powerful forms and dynamic compositions. She is drawn to the juxtaposition of colour and form that can be observed in the lime green/burnt orange lichen-covered boulders, the bark and branches. Painted with her recognisable gestural brush marks and bold pattern, these wild trees represent the ultimate expression of dynamic growth, movement and colour.
Spending time exploring the landscape of Dartmoor was the perfect opportunity for Fiona McIntyre to express her love of powerful forms and dynamic compositions.
McIntyre is drawn to the juxtaposition of colour and form that can be observed in the lime green/burnt orange lichen-covered boulders, the bark and branches.
Painted with strong gestural brush marks and bold pattern, these wild trees represent the ultimate expression of dynamic growth, movement and colour.
Fiona McIntyre discusses why she chose trees as her main artistic subject (1:15)
Oak Tree Forms, Wistmans Wood
Oil on linen, 75 x 85 cm
Spending time exploring the landscape of Dartmoor was the perfect opportunity for Fiona McIntyre to express her love of powerful forms and dynamic compositions. She is drawn to the juxtaposition of colour and form that can be observed in the lime green/burnt orange lichen-covered boulders, the bark and branches. Painted with her recognisable gestural brush marks and bold pattern, these wild trees represent the ultimate expression of dynamic growth, movement and colour.
Spending time exploring the landscape of Dartmoor was the perfect opportunity for Fiona McIntyre to express her love of powerful forms and dynamic compositions.
McIntyre is drawn to the juxtaposition of colour and form that can be observed in the lime green/burnt orange lichen-covered boulders, the bark and branches.
Painted with strong gestural brush marks and bold pattern, these wild trees represent the ultimate expression of dynamic growth, movement and colour.
This photograph of the trees at Wistman’s Wood gives a sense of the landscape which inspired Mcintyre to create this painting
Fiona McIntyre discusses the importance of being part of an artistic collective (0:55)
Twisting Oaks and Granite
Oil on linen, 25 x 41 cm
Spending time exploring the landscape of Dartmoor was the perfect opportunity for Fiona McIntyre to express her love of powerful forms and dynamic compositions. She is drawn to the juxtaposition of colour and form that can be observed in the lime green/burnt orange lichen-covered boulders, the bark and branches. Painted with her recognisable gestural brush marks and bold pattern, these wild trees represent the ultimate expression of dynamic growth, movement and colour.
Spending time exploring the landscape of Dartmoor was the perfect opportunity for Fiona McIntyre to express her love of powerful forms and dynamic compositions.
McIntyre is drawn to the juxtaposition of colour and form that can be observed in the lime green/burnt orange lichen-covered boulders, the bark and branches.
Painted with strong gestural brush marks and bold pattern, these wild trees represent the ultimate expression of dynamic growth, movement and colour.
This photograph of the trees at Wistman’s Wood gives a sense of the landscape which inspired Mcintyre to create this painting.
Fiona McIntyre discusses the importance of engaging with nature and woodland (1:07)
Druids Wood 1
Water based mediums on paper, 58 x 72 cm
Ann Blockley is fascinated by the intricate, abstract tangles and organic patterns created by trees and hedgerows. She closely follows their seasonal transformations of colour and texture. Through her artwork she aims to capture the sense of the landscape, subtly altering reality to create something poetic and elusive.
Ann Blockley is fascinated by the intricate, abstract tangles and organic patterns created by trees and hedgerows. She closely follows their seasonal transformations of colour and texture.
Through her artwork Blockley aims to capture the sense of the landscape, subtly altering reality to create something poetic and elusive.
Wistmans Wood 1
Watercolour, 48 x 32 cm
Abi Kremer’s experience of nature is greatly influenced by her background of working with dance companies. She sees the tension that exists between human interaction in a performance as also being present in a woodland setting. Her vibrant experimental art, created using layered washes of transparent colours, creates playful surreal images, inspired by Bridget Riley’s visual vocabulary and Eileen Agar’s imagination.
Abi Kremer’s experience of nature is greatly influenced by her background of working with dance companies. She sees the tension that exists between human interaction in a performance as also being present in a woodland setting.
The artist’s vibrant experimental paintings, created using layered washes of transparent colours, creates playful surreal images, inspired by Bridget Riley’s visual vocabulary and Eileen Agar’s imagination.
Abi Kremer discusses the inspiration of Wistman’s Wood (1:05)
Wistmans Wood 2
Watercolour, 48 x 32 cm
Abi Kremer’s chief inspirations as an artist are landscape and nature. Her experience of nature is greatly influenced by her background of working with dance companies. She sees the tension that exists between human interaction in a performance as also being present in a woodland setting. Her vibrant experimental art, created using layered washes of transparent colours, creates playful surreal images, inspired by Bridget Riley’s visual vocabulary and Eileen Agar’s imagination.
Abi Kremer’s experience of nature is greatly influenced by her background of working with dance companies. She sees the tension that exists between human interaction in a performance as also being present in a woodland setting.
The artist’s vibrant experimental paintings, created using layered washes of transparent colours, creates playful surreal images, inspired by Bridget Riley’s visual vocabulary and Eileen Agar’s imagination.
Wistmans Wood 3
Watercolour, 48 x 32 cm
Abi Kremer’s chief inspirations as an artist are landscape and nature. Her experience of nature is greatly influenced by her background of working with dance companies. She sees the tension that exists between human interaction in a performance as also being present in a woodland setting. Her vibrant experimental art, created using layered washes of transparent colours, creates playful surreal images, inspired by Bridget Riley’s visual vocabulary and Eileen Agar’s imagination.
Abi Kremer’s experience of nature is greatly influenced by her background of working with dance companies. She sees the tension that exists between human interaction in a performance as also being present in a woodland setting.
The artist’s vibrant experimental paintings, created using layered washes of transparent colours, creates playful surreal images, inspired by Bridget Riley’s visual vocabulary and Eileen Agar’s imagination.
Wistmans Wood
Oil on canvas, 100 x 120 cm
Jacqui Wedlake-Hatton is inspired to paint trees by the beauty and resilience of nature. ‘Given that our human life-span is short relative to that of trees, the slow and considered rendering of my paintings is an expression of doubt about the wisdom of short-term and damaging attitudes to the natural environment.’
Jacqui Wedlake-Hatton is inspired to paint trees by the beauty and resilience of nature. ‘Given that our human life-span is short relative to that of trees, the slow and considered rendering of my paintings is an expression of doubt about the wisdom of short-term and damaging attitudes to the natural environment.’
Wistmans Wood From the Inside
Ink and watercolour, 57 x 40 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.’
The artist continues to be inspired by trees and recognises 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.’
This preparatory drawing gives an insight into how Beale develops the composition for her paintings.
A Whole World, Sausage Lichen on Crataegus
Raw pigment and ink on paper, 65 x 66 cm
Through her art Stella Carr is interested in exploring the infinite interconnections that can be found in nature. This way of seeing is layered through her work, emphasised by the way she applies colour in complementary opposites, and scratches, scrapes and glazes to produce the final artwork. ‘Being an artist in this time we need no evidence that we are all one organism on this earth.’
Through her art Stella Carr is interested in exploring the infinite interconnections that can be found in nature. This way of seeing is layered through her work, emphasised by the way she applies colour in complementary opposites, and scratches, scrapes and glazes to produce the final artwork.
Carr says: ‘Being an artist in this time we need no evidence that we are all one organism on this earth.’
Stella Carr discusses why trees are her main artistic subject (0:37)
How Many Seasons (Whispering Oak Stone Moss)
Raw pigment and ink on paper, 39 x 48 cm
Through her art Stella Carr is interested in exploring the infinite interconnections that can be found in nature. This way of seeing is layered through her work, emphasised by the way she applies colour in complementary opposites, and scratches, scrapes and glazes to produce the final artwork. ‘Being an artist in this time we need no evidence that we are all one organism on this earth.’
Through her art Stella Carr is interested in exploring the infinite interconnections that can be found in nature. This way of seeing is layered through her work, emphasised by the way she applies colour in complementary opposites, and scratches, scrapes and glazes to produce the final artwork.
Carr says: ‘Being an artist in this time we need no evidence that we are all one organism on this earth.’
Stella Carr discusses what is unique about the forests of Exmoor and Dartmoor (1:07)
The Oaks Breathe and the Stones Clench Centuries, Wistmans Wood
Raw pigment and ink on paper
Through her art Stella Carr is interested in exploring the infinite interconnections that can be found in nature. This way of seeing is layered through her work, emphasised by the way she applies colour in complementary opposites, and scratches, scrapes and glazes to produce the final artwork. ‘Being an artist in this time we need no evidence that we are all one organism on this earth.’
Through her art Stella Carr is interested in exploring the infinite interconnections that can be found in nature. This way of seeing is layered through her work, emphasised by the way she applies colour in complementary opposites, and scratches, scrapes and glazes to produce the final artwork.
Carr says: ‘Being an artist in this time we need no evidence that we are all one organism on this earth.’
Stella Carr discusses the importance of being part of a collective of artists (0:41)
Gallery
This exhibition was supported by
