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
Mariko Mori at the Royal Academy ,what stayed with me was the simplicity and the use of colour in sculpture,took me some time to get used to and see the how it can work together.Sitting for a long time with the piece Transcircle 1.1', reaching a place were the rhythm...
During the last few days i started using a material new to me, bees wax ...great stuff,it melts to liquid gold and sets in it's rich amber glow. I am aiming to integrate local beeswax into the Cotswold stone and thanks to Jessie from the "Global bee project" I met...
The lake is frozen over,snowdrops everywhere. I dropped off some stones and my tools at the garden today and look forward to start carving bright and early tomorrow morning. This garden is well worth a visit!!
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.