Void Jumble

Void Jumble

Void Jumble

Void Jumble

Exploring the space between light and dark I drew with graphite on black paper.
My heavy-handed application of graphite turned the potential of a transitional space into a hard impenetrable border.

I cut the drawing up then knotting the strips of black and graphite coloured paper together.

Now light and dark are constantly changing through the direct and indirect light surrounding this piece.

Through observational drawing, I record random moments and conditions of light on ‘Void Jumble’.

Light reveals and hides things as it moves from one place to another.
‘Void Jumble’ is a invitation to stop for a moment and look at these changes.

Absence

Absence

Absence

Casting the ‘skin’ of a rock in beeswax

‘Absence’ I took a basalt rock some clay and beeswax to make direct moulds of the rocks ’skin’, sewing and melting the cast beeswax section together with the intention to make space for the rocks absence.

Lüsenen

Lüsenen

Lüsenen…

A sound installation in Gloucester Cathedral

Each chamber in the crypt of Gloucester Cathedral has unique acoustic qualities. Ann-Margreth Bohl, sculptor and installation artist, has been collaborating with a team comprising musicians, a composer a sound designer and a sound engineer, to record and transform sound qualities discovered in the crypt and culminating in this sound-installation.

Through many visits to the chambers singing, playing the cello and recording some of the crypts resonance, a library of sounds was created by holding on to acoustic surprises and treasures found.

This site specific collection of sounds was revisited and edited to form the abstract compositions you can experience today. You are invited to listen and connect with the architecture and atmosphere of this crypt through what you hear.

As you are moving close or further away the sounds naturally change, creating a individual experience for everyone.

For your own experience and the experience of other listeners be as silent as you can whilst visiting ‘Lüsenen’, turn your phones off and don’t take any flash photography.

Please feel free to get in touch with us if you have any questions or with regards to any future projects/ events

Queues of people outside the big red door of the crypt.

Some thoughts on ‘Lüsenen’…

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

Queues of people outside the big red door of the crypt.

Limiting the numbers of people at any given time down there as it is quite unbelievable how much the amount of visitors and their way of experiencing a work like this influences the piece itself. In my experience every project presents some magical surprise and with ‘Lüsenen’ I have a feeling it was how people interacted with the crypt when in the almost dark, a few battery operated candles dimly lighting the way.

Ann-Margreth Bohl

Sculptor and installation artist

Entering the same chapel on a previous night, two people sitting in a corner huddled up to each other, silent, absorbed. I stand close, we are silent together, absorbed in the same silence, more people join, stand close to us, entering the same silence, the layering of atmospheres, of absorption, having a, experience together.

I suddenly feel like I am in a play, I am the audience, observing how people want to find their way, how unsure they are, how some help each other without words joining candles together, moving them towards the floor so to show the way.

Something is so familiar and ancient about all of this and it is not just the space…it is what makes us humans human and how we recognise each others searching.

So I find myself wondering how it came that a experience of sound has joined into a experience of humans in the dark, how has it turned into this performative space, how can it be that I am the one that wanted to understand something of the architecture of this space ends up to understands a bit more how humans share some experiences and behave in similar ways if we allow ourselves to have a experience.

Ann-Margreth Bohl

Sculptor and installation artist

Circles of light moving up and down the solid, roughly carved walls of the crypt, hands touching into the circles of light, silently stroking them… dark figures standing around, watching the hand move over the stone whilst listening to the atmospheric screeching sounds.

Little orange flames at the end of the corridor dancing up n down like fireflies, dark figures moving towards them. Closer to the dancing flames and when turned toward the ‘candleholder’ shadows dance over the wall behind them up and down up and down as the arms move in search for finding a way into the unknown.

Sitting silently on a step in the most remote of chapels in the crypt, by us revered too as ‘death chapel’… people in the form of dark cut out shapes coming close, hesitating to move into the pitch black… I am sitting there watching their hesitation their vulnerability, their human ways of moving when not sure if and how to move, if it is safe to do so or not.

Nobody knows that I am here, sitting on this step, silently..I do not want to frighten them, I tap my phone pressed on my knees for the screen to gently glow… I am here, don’t be frighted.

‘I saw this figure in the dark it did not move, was it alive or dead?’

Ann-Margreth Bohl

Sculptor and installation artist

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Holocene

Holocene

Holocene

Named after the current geological epoch, Holocene takes the form of a series of large sandstone blocks from the Chatsworth estate. Like a large sundial, the blocks cast a complex pattern of shadows throughout the day, rewarding any revisits. Some of the blocks also have the outline of the shadows that fall on them from another block at a precise moment in time.

https://vimeo.com/537272726
A film by Alexander Caminada

About Holocene

Visitors to 2018’s Royal Horticultural Society Show Garden at Chatsworth House, Derbyshire, witnessed a monumental stone sculpture on display in the garden, similar to Stonehenge and other ancient sites that are lit up on particular days of the year: it was precisely aligned with the movements of the sun so that at precicey 4.30PM on Saturday 9 June, the shadows cast by the sun fit perfectly with outlines of shadows that were carved into the stone.

The sculpture is named Holocene after the current geological epoch. It takes the form of a series of large sandstone blocks, which come from the Chatsworth estate. Like a large sundial, the blocks cast a complex pattern of shadows at different times of day, meaning that the work repays spending time with and revisiting. Some of the blocks also have carved into them, in deep relief, the outline of the shadows that will be falling on them at a precise moment of time: this has been worked out exactly using computer modelling.

Stroud-based sculptor Ann-Margreth Bohl created Holocene, working with digital designer Dan Hughes McGrail and stonemason Danny Evans. Much of Ann-Margreth’s previous work, which includes previous commissions for the RHS and the National Memorial Arboretum, has also explored themes of light and shadow, change and the passing of time.

The stone were from the Chatsworth estate and the work in a sense comes from the Derbyshire landscape (where quarrying has historically been an important industry), and it is due to return to it: after the blocks have been displayed in the RHS Show Garden, they will stay on the Chatsworth estate.

Written by Matt Shinn

‘Holocene’ Time Lapse, a film by Andy Armstrong. Approximately 2 hours compressed into 22 seconds.

Holocene journeys…

Sunbathers on Holocene

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Holocene

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Ann-Margreth Bohl

Passing Light

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Passing Light

I have over twenty years experience in stone carving, developing a continuous understanding of this natural material and its qualities, alongside the forms it can hold in permanence.

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See-Through Squares

See-Through Squares

See-Through Squares

Collaboration with composers Emily Hall and David Sheppard commissioned by London Sinfonietta 

Based on the idea of a wind chime we developed a instrument measuring its own movement.

A exciting challenge to create a ‘machine’ with the ability to collect a variety of data, initiating layers of music, visuals and shadow projections.

Next performance 03.11.16 Iceland Airwaves

IMG_1136 (1)

I am currently working on a music reactive mobile, being played by composers Emily Hall and David Sheppard as part of the  London Sinfonietta Short/ King’s Place – 28th September 2016 9AM

In September 2016, I collaborated with composer Emily Hall and sound designer David Sheppard on building a interactive musical sculpture.

Artwork For Sale

I draw to think and get a feel for a subject I am interested in.
View all of my artwork for sale.

Ann-Margreth Bohl

Installation Gallery

Installation Gallery

Installation Gallery

Artwork For Sale

I draw to think and get a feel for a subject I am interested in.
View all of my artwork for sale.

Ann-Margreth Bohl

Drawing Gallery

Drawing Gallery

Drawing Gallery

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View all of my artwork for sale.

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Lettering Gallery

Lettering Gallery

Lettering Gallery

Artwork For Sale

I draw to think and get a feel for a subject I am interested in.
View all of my artwork for sale.

Ann-Margreth Bohl