Ann-Margreth Bohl is a sculptor based in Stroud, Gloucestershire.
She works mainly in stone and metal, and categorises her work by Installation, Drawing, Lettering and Sculpture, however, her work also includes a variety of other media, from beeswax to sound.
Interested in light, shadow and the passing of time, Ann-Margreth’s recent work includes monumental sculptures which are time pieces, casting a complex and changing series of shadows; like modern Stonehenges, they’re precisely aligned with the sun as it moves across the sky.
Art Work Projects
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Artwork For Sale
Making moulds, it went well days ago, but this time it seemed not straight forward when all of a sudden two pints of plaster poured out of my constructed frame, gritting my teeth the damage was cleared away and I discovered today that the moulds are fine, even...
We set off to in the morning to arrive in Cornwall by midday. Wim and Lar loading two big rocks in no time into Lar's van. I am speechless watching Wim working and controlling the forklift, the way he wraps the webbing around the boulders, knowing exactly how the...
The fourth model has changed considerably since I started it on sunday. The thought of having a transient almost disintegrating form has moved on to a inside out form that displays internal and external it is more complex then the previous models. In my mind this...
Some thoughts on ‘Lüsenen’ by a visitor to the installation…
What I kept thinking about, both during and after, was permanence and impermanence. It was hard not to with the weight of the cathedral bearing down from above, and surrounded by the sense of centuries of faith.
The use of a Middle High German word to name the installation really interested me. Not only was it contemporaneous with the building of the crypt, but those who had used Lüsenen as part of their everyday language would not have ever imagined that it would fall out of use. That the words with which they communicated with each other were not permanent, and would not be commonly spoken or heard a few hundred years later. And it combined with the idea that while the sounds played in the installation had been recorded, they are not actually permanent, they only really exist in the moment in which they are heard.
The siting of the installation in the cathedral crypt grounded the experience in centuries of tradition, history and human experience. Moving through the spaces in such low light conditions created an atmosphere of attention, participants had to listen keenly, had to be aware of who and what was around them. The resulting experience was highly personal, each participant heard the sounds from their own physical perspective, and I was struck by how it commanded total commitment to the moment. There could never be any repetition of the combination of sound or light. I am aware, a couple of weeks later, of how clear my memories of the experience are. I can remember certain moments with much more clarity than I would normally expect, they are imprinted on my memory. My own version of a permanent record.