Horner Wood and Cloutsham
Click through the gallery below to discover nine artists’ responses to one of the largest and most beautiful ancient oak woods in Britain
Horner Wood (Exmoor National Park) is a National Nature Reserve on the Holincote Estate. It contains 330 species of trees, some of them rare, as well as many lichens that grow on the ancient trees and on dead wood. Conservationists and rangers use traditional woodland management to create healthier habitats where wildlife can thrive. The forest canopy has been opened up so that more light can reach the wood, encouraging wildflowers and pollinating insects.
Horner Woods, Angela Rumble 
Ancient tree trunks at Horner Wood, Phillipa Beale
The Old Man of Horner Woods
Oil on linen, 95 x 65 cm
Trees are a continual subject in Claire Cansick’s painted landscapes. In depicting them she explores their majesty, colour and silhouette, as well as their relationship to human beings. She uses colour to express mood and to develop an atmosphere that shifts observers from their present place.
Trees are a continual subject in Claire Cansick’s painted landscapes. In depicting them she explores their majesty, colour and silhouette, as well as their relationship to human beings.
Cansick uses colour to express mood and to develop an atmosphere that shifts observers from their present place.
Lost in the Margins
Oil on linen, 140 x 100 cm
Lara Cobden vividly describes her first visit to the ancient Horner Wood on Exmoor: ‘The old undisturbed oaks were so beautifully twisted and gnarled that they formed a canopy of arches like a cathedral above me.’ When depicting the scene, she began with charcoal and thin oil washes to map out the initial composition. She then used glazes to build up the intensity of the woods, with the linen background left bare in places ‘to let the image breathe’.
Lara Cobden vividly describes her first visit to the ancient Horner Wood on Exmoor: ‘The old undisturbed oaks were so beautifully twisted and gnarled that they formed a canopy of arches like a cathedral above me.’
When depicting the scene, the artist began with charcoal and thin oil washes to map out the initial composition. She then used glazes to build up the intensity of the woods, with the linen background left bare in places ‘to let the image breathe’.
Ancient Beech Trees on the Edge of Moorland, Exmoor (Cloutsham)
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.’
The artist 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.’
This photograph of tree trunks at Cloutsham gives a sense of the landscape which inspired Beale to create this painting.
Artist Phillipa Beale discusses the paintings she created for the exhibition (1:53)
Rey Coombe (Exmoor)
Watercolour, 78 x 96 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 Horner Wood gives a sense of the landscape which inspired Craven to create this painting.
Cloutsham Ball Pollard Oak
Graphite on Bristol board, 30 x 25 cm
When embarking on this project, Paul Newman was intrigued by the grand, aged and richly-draped oak trees at Cloutsham Ball and the East Water Valley. In the damp valley air, high above the river, he found a landscape that was remote and fantastical. For inspiration he spent time walking, exploring and thinking, and ultimately ‘returned to what was the first oak I encountered on arriving, drawn to the hollow form and the trunks radiating out.’
When embarking on this project, Paul Newman was intrigued by the grand, aged and richly-draped oak trees at Cloutsham Ball and the East Water Valley. In the damp valley air, high above the river, he found a landscape that was remote and fantastical.
For inspiration the artist spent time walking, exploring and thinking, and ultimately ‘returned to what was the first oak I encountered on arriving, drawn to the hollow form and the trunks radiating out.’
Turkey Tail Fungus
Scraperboard, 20 x 25 cm
Mike Dodd experimented with new forms to develop artworks that reflect the great complexity of Exmoor’s natural environment. His artistic process involved applying ink and acrylic to clay board and sraperboard, then scraping through the media to reveal the support below. The challenge of working on these surfaces was an exciting new departure for the artist.
Mike Dodd experimented with new forms to develop artworks that reflect the great complexity of Exmoor’s natural environment.
The artistic process involved applying ink and acrylic to clay board and sraperboard, then scraping through the media to reveal the support below. The challenge of working on these surfaces was an exciting new departure for the artist.
Horner Wood Cat’s Scramble
Acrylic on board, 40 x 60 cm
Alex Egan is captivated by the energy and presence of trees, and her artistic practice is rooted in a desire to be among woodland. She spends time producing sketches and drawings ‘en plein air’ which are then transposed into new works in her studio. Her visits to Exmoor and Dartmoor with the Arborealists were hugely inspiring and fostered in her a deep appreciation of these staggering landscapes and the trees they contain.
Alex Egan is captivated by the energy and presence of trees, and her artistic practice is rooted in a desire to be among woodland.
The artist spends time producing sketches and drawings ‘en plein air’ which are then transposed into new works in her studio. This is an example of a sketch produced at Horner Wood:
The artist’s visits to Exmoor and Dartmoor with the Arborealists were hugely inspiring and fostered in her a deep appreciation of these staggering landscapes and the trees they contain.
Horner Wood
Acrylic on board, 60 x 40 cm
Alex Egan is captivated by the energy and presence of trees, and her artistic practice is rooted in a desire to be among woodland. She spends time producing sketches and drawings ‘en plein air’ which are then transposed into new works in her studio. Her visits to Exmoor and Dartmoor with the Arborealists were hugely inspiring and fostered in her a deep appreciation of these staggering landscapes and the trees they contain.
Alex Egan is captivated by the energy and presence of trees, and her artistic practice is rooted in a desire to be among woodland.
The artist spends time producing sketches and drawings ‘en plein air’ which are then transposed into new works in her studio. This is an example sketch produced during her visit to Horner Wood:
The artist’s visits to Exmoor and Dartmoor with the Arborealists were hugely inspiring and fostered in her a deep appreciation of these staggering landscapes and the trees they contain.
The General (East)
Wood engraving, 25 x 20 cm
Blaze Cyan describes her artistic process as beginning with ‘exploration, the experience of walking and connecting with my surroundings’. She creates work that reflects ‘the beauty and complexity of nature and its importance in supporting and enriching lives’. She is particularly fascinated by ancient trees, with their symbolic role in representing wisdom and the passage of time.
Blaze Cyan describes her artistic process as beginning with ‘exploration, the experience of walking and connecting with my surroundings’.
Cyan creates work that reflects ‘the beauty and complexity of nature and its importance in supporting and enriching lives’.
The artist is particularly fascinated by ancient trees, with their symbolic role in representing wisdom and the passage of time.
The General (West)
Wood engraving, 25 x 20 cm
Blaze Cyan describes her artistic process as beginning with ‘exploration, the experience of walking and connecting with my surroundings’. She creates work that reflects ‘the beauty and complexity of nature and its importance in supporting and enriching lives’. She is particularly fascinated by ancient trees, with their symbolic role in representing wisdom and the passage of time.
Blaze Cyan describes her artistic process as beginning with ‘exploration, the experience of walking and connecting with my surroundings’.
Cyan creates work that reflects ‘the beauty and complexity of nature and its importance in supporting and enriching lives’.
The artist is particularly fascinated by ancient trees, with their symbolic role in representing wisdom and the passage of time.
In Line, Cloutsham
Oil on canvas panel, 55 x 30 cm
In his small-scale oil paintings, Tom Deakins aims to capture a balance between fine detail and broader atmosphere. He places great emphasis on light and on the sense of place we feel within a landscape. Deakins is based in Essex where he has spent many years teaching art, art history and silversmithing.
In his small-scale oil paintings, Tom Deakins aims to capture a balance between fine detail and broader atmosphere. He places great emphasis on light and on the sense of place we feel within a landscape.
Deakins is based in Essex where he has spent many years teaching art, art history and silversmithing.
By Water, Horner Wood
Oil on canvas panel, 30 x 23 cm
In his small-scale oil paintings, Tom Deakins aims to capture a balance between fine detail and broader atmosphere. He places great emphasis on light and on the sense of place we feel within a landscape. Deakins is based in Essex where he has spent many years teaching art, art history and silversmithing.
In his small-scale oil paintings, Tom Deakins aims to capture a balance between fine detail and broader atmosphere. He places great emphasis on light and on the sense of place we feel within a landscape.
Deakins is based in Essex where he has spent many years teaching art, art history and silversmithing.
Gallery
This exhibition was supported by
