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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Ann-Margreth's Blog



  Some time has passed since my last post….a good moment for me to gather up thoughts that have come up whilst drawing to sound. What is the difference between a sound/ sounds and a song? How do I manage to not run before walking and how do I manage to find...



Birdsong…will it form part of the sound-installation? Or is it perhaps a different project all together? Not sure what it is about birds, did I ever really listened to them? I was always sure of them being there and all of a sudden I feel alarmed that perhaps one day...


Lüsenen… sound installation, Gloucester Cathedral

Over the last few weeks I have visited the crypt...each time noticing more qualities in the different spaces.Simon and I have been listening to a few recordings, randomly selected.Elle singing into the font in the second chamber (amazing reverb!)...a recording of my...


Ann-Margreth Bohl’s sculpture Holocene, at the RHS Show Garden, Chatsworth House, 6-10 June 2018. Visitors to this year’s Royal Horticultural Society Show Garden at Chatsworth House, Derbyshire, will witness a highly unusual event. A monumental stone sculpture, which...


The play of light and shadow is a recurring theme in Ann-Margreth Bohl’s sculptures. Lumen (the name comes from the standard unit for measuring light) was inspired by two recent journeys. The first was to Portland in Dorset, where Ann-Margreth first began...

Dark<>Light 27th exhibition at Stroud Subscription Rooms November-2nd December 2017

Exhibition 27th November- 2nd December 2017, Stroud Subscription Rooms, some of my new stone carvings will be on show.

Exhibition of drawings and sculptures at Allomorphic Stroud 24th-26th August 2017

Upcoming Exhibition of drawings and sculptures by Ann-Margreth Bohl at Allomorphic in Stroud during the August Stroud Fringe Festival 2017 Poster Nielsan Abbott-Bohl

‘Passing Light’ in the Award Winning Quarry Garden

Some Bonkers Stonehenge A striking new monumental sculpture is going up at the National Memorial Arboretum: an imposing wall, some three metres high and fifteen metres long, with a series of cracks and grooves cut into it, designed to cast a complex and...

IQ Quarry Garden

‘Passing Light’, a sculptural installation paying homage to light/ shadow and form.

“Passing Light” stone carving/ installation at RHS Chatsworth Flower Show 2017

“Passing Light” Light and dark influencing two dimensional and form lies at the centre of my work. I have over twenty years experience in stone carving, developing continuously a understanding of this natural material and its qualities, alongside the forms it can hold...

See-Through Squares – London Sinfonietta 2016

Sculptural instument built in collaboration with composers Emily Hall and David Sheppard.

For You – Installation, Stroud Fringe 2016

Commissioned for the Good on Paper Stroud Fringe event in St. Laurence Church

GOP – Why Art?

As part of the Stroud Fringe 2016, Good on Paper has launched the series Why Art? Filmed and edited by Katie Jane Watson Music by Body Clocks

‘For You’ – model for light installation

This is the beginning of a light installation that can be viewed as part of the Good On Paper Fringe Event - 28th August, 5pm at St. Laurence Church, Stroud GL5 1JL.

Sculpture Trail – New Brewery Arts, Cirencester

Inside and OutFrom 16th July - 11th September 2016New Brewery Arts, Cirencester, GL7 1JHHow does site alter our response to a work of art?In this show, New Brewery Arts invites visitors to think about the nature of sculpture and its relationship with the...

Light Installation at Stroud Fringe

‘Good On Paper’ Fringe Event – 28th August, 5pm at St. Laurence Church, Stroud GL5 1JL


Photo credit: Fred Chance

Anchor – Exhibition

Private view Friday 25 September 7-9 PM
Exhibition open 26-30 September 11-4 PM
Line Gallery, SVA, John ST, Stroud, GL5 2HA

A time & a place – New Brewery Arts, Cirencester

'A time & a place' work by Ann-Margreth Bohl about artist residencies. Starting 17th January 2015 Ann-Margreth is a german born artist working predominantly with natural materials stone, beeswax, graphite, string, leather etc. Through the process of...

Artefact or Fiction

1st - 31st May 2014 Stroud Museum in the Park On 'Artefact or Fiction' A temporary intervention amongst the Historic collection rooms, involving genuine Curiosities and artistry both to intrigue and inspire, Wherein you the viewer, may...

Video of ‘Convergence & Space’

Video by Alexander Caminada

Convergence & Space

Since the beginning of this week Paul Grellier and myself have been setting up in the Goods Shed, Stroud for "Convergence& Space"...going through the normal motions of setting up for a exhibition, all the uncertainty and excitement that...

Recent Work

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.

Joanna L

Installation visitor