viewing category: OneOak project

In the final act of the OneOak project, today we returned the OneOak memorial sculpture to its rightful home; to the woodland at Blenheim Palace.

The end of the OneOak project

The end of the OneOak project: the forestry team at Blenheim Palace gather with sculptor Simon Clements (right) and Sylva’s Gabriel Hemery (left)

The sculpture, designed and made by Simon Clements, toured around all the OneOak exhibition venues during 2011 and 2012 but it was always destined to rest on top of the stump of the OneOak tree that provided the inspiration and material for the three year project. The sculpture will now remain in the woodland to weather and grow a natural patina of mosses and lichens, surrounded by a small forest of 250 oak trees.

One of the 250 oak trees planted by school children

One of the 250 oak trees planted by school children emerges from its treeshelter near the OneOak memorial sculpture

Installing the OneOak memorial sculpture

Installing the OneOak memorial sculpture and repairing a few tree stakes damaged by browsing deer

Simon Clements installs the OneOak memorial sculpture

Simon Clements installs the OneOak memorial sculpture on the tree stump

The OneOak sculpture returns

The OneOak sculpture returns fresh from its journeys around Britain – last seen in Edinburgh!

Our thanks to Simon Clements and the forestry team at Blenheim Palace.


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Scottish Forestry Trust

Scottish Forestry Trust – exhibition sponsor at Royal Botanic Garden Edinburgh

The OneOak finale exhibition, hosted by Royal Botanic Garden Edinburgh last Autumn, was made possible thanks to the support of the Scottish Forestry Trust.

As a condition of their funding a report about the exhibition has been submitted to the charity. It confirmed that over 49,000 members of the public were exposed to the exhibition during the six weeks that it was open at RBGE. In the same period over 9,000 people visited our OneOak project webpages.

You can read more about the support provided by the Scottish Forestry Trust and access the full report (linked at the bottom of their page) here.


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The OneOak exhibition at Royal Botanic Garden Edinburgh has now entered its last week.

One Oak exhibition wall panels montage at RBGE

One Oak exhibition wall panels montage at RBGE

Over the last five weeks some tens of thousands of visitors have seen the displays of information about sustainable forest management, watched the films, listened to the music, and been amazed by both the beauty and variety of wooden items made from the OneOak tree.

Entrance to the OneOak exhibition

Entrance to the OneOak exhibition

If you’ve seen the exhibition why not leave a comment about your experience on our blog or Facebook page.

If you’ve not seen it, you have until Sunday 2nd December. For more visitor information click here.

www.OneOak.info


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OneOak tree portrait - mounted

OneOak tree portrait – mounted version

With just four weeks to go to Christmas, we have some remaining limited edition prints of the OneOak tree, drawn by internationally-renowned artist Sarah Simblet. Available to buy online from our shop, it would make a perfect Sylvan gift for any tree lover.


More about the Limited Edition Print

A stunning pen and ink portrait of the OneOak tree drawn by internationally-renowned artist, and author of Botany for the Artist, Sarah Simblet. Generously donated to the Sylva Foundation by the artist. All proceeds from sales will be used for our charitable work. Only 100 limited edition prints have been made, and each hand signed and numbered by the artist.

Sarah Simblet is an artist, author and teacher of drawing at the Ruskin School of Drawing and Fine Art in Oxford. Sarah made an original pen and ink drawing of the OneOak tree before it was felled in 2010. In the tradition of the teacher and art critic John Ruskin, her botanical drawings are a great aid to our understanding of the structure of plants by encouraging the viewer to study their intricate detail. Such meticulous drawings made by the human hand can be more compelling than photographs which are now commonplace in everyday life.

Printed with pigment-based inks on acid-free 310gsm FSC grade cotton rag paper, with UV coatings providing light-fastness in excess of 100 years. Double-mounted (where applicable) with off-white cotton rag board. All materials are sustainably sourced. Frames (where applicable) are made with FSC grade ash finished with natural wax.

Visit the Sylva Foundation online our shop


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It is the opening weekend of the OneOak finale exhibition at Royal Botanic Garden Edinburgh this weekend; the beginning of a six week long exhibition. Sylva staff are on hand to talk with visitors this weekend. Here are a few photographs (click to enlarge), with more to follow.

The exhibition was sponsored by the Scottish Forestry Trust.


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Makers Richard Zakss and Samantha Drewett of DZ Design have produced dozens of craft items from the OneOak wood.

They have worked with the offcuts from other Makers, including Rodas Irving, and parts of the tree that other Makers ignored such as large and bent branches.

These items and more will all be for sale at our exhibition opening tomorrow at Royal Botanic Garden Edinburgh.

DZ Design website


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freeform spoon collection by Martin Damen

freeform spoon collection by Martin Damen

Martin Damen has been busy making a large number of spoons and some pendants from the remaining OneOak timber.

The entire OneOak collection can be seen on Martin Damen’s website, and some of these will be for sale at our forthcoming exhibition at Royal Botanic Garden Edinburgh (read more).

 


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RBGE OneOak exhibition October 12th-December 2nd

One week today our finale exhibition of the OneOak project opens at Royal Botanic Garden Edinburgh, where it will run for six weeks from October 12th to December 2nd.

A joint press release has been prepared with RBGE, an extract from which is included below.


Press Release

OneOak exhibition at Royal Botanic Garden Edinburgh 2012

OneOak exhibition at Royal Botanic Garden Edinburgh: October 12th to December 2nd 2012

The creative results of an innovative project following the full life story of a single oak tree is set to inspire visitors to the Royal Botanic Garden Edinburgh (RBGE), from October 12 to December 2. Created by the Sylva Foundation, in partnership with artists and craftsmen from throughout Britain, the OneOak exhibition features some 50 items, ranging from a throne chair to tables, benches and wood block prints. All have been created with timbers from a 222-year-old oak tree felled on Blenheim Estate, near Oxford.

From the outset, the incentive of the Sylva Foundation has been to bring people closer to the importance of woodlands and of wood in modern society. With this in mind, the felling, in January 2010, was witnessed by 250 school children and 200 other guests. A year later they were invited back to each plant a young oak, so fulfilling a cycle of sustainable forest management.

The tree was grown initially for its timber, being planted in 1788; the year The Times was first published, when Mozart was working on his last symphony and when the French Revolution was just beginning to stir. It became the most studied oak tree in Britain: it has been weighed, measured with lasers to create a 3D model, studied by a dendrochronologist, and had its carbon content estimated. It has also been featured by dozens of artists, sculptors and photographers. Now, it is being brought to Edinburgh thanks to funding from the Scottish Forestry Trust.

Chief Executive of the Sylva Foundation and project co-ordinator Dr Gabriel Hemery said:

“This has been an amazing project that has inspired both the public and those who make a living working with wood and caring for our woodlands. Everyone has given their time to the project in so many different ways because they have been inspired by the concept: the realisation that trees and wood are still vital to life even in modern society.”

Dr Hemery continued:

“After three years of hard work it has been immensely exciting to be able to bring together all the various elements of the OneOak project. We are able to show the public the stunning artwork, spell-binding films, earth-shattering science and a myriad of truly amazing wood-based products. The only products that we haven’t been able include in real life in the exhibition at RBGE will be a house and a boat!”

Reflecting on the harmony between the origins of OneOak project and the work of RBGE, Exhibitions Officer Elinor Gallant, commented:

“This is quite a remarkable exhibition detailing the lifecycle of an iconic tree. It is a story which links well with our experiences as a botanic garden and with our policy of communicating about the environment at every level. Having hosted two particularly well received drop-in sessions bringing insight to the project, back in January 2011, it makes absolute sense for RBGE to present the full exhibition. I am certain visitors of all ages will be delighted by both the beauty of the wood and the story behind why and how these remarkable pieces have come to be on display.”

download the full Press ReleaseDownload the full Press Release


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The second of our ceramic pieces made from offcuts from the OneOak wood has arrived safely at Sylva in readiness for our exhibition at Royal Botanic Garden Edinburgh.

Complimenting the OneOak jug made by Stephen Parry, this piece was made by Deana Lee and is called Metamorphosis III.

The piece measures 38cm high, and 26cm wide and deep, and its name is rather apt given that the tree has been changed into many different forms. It was made from Porcelain mixed with T-material.

Deana explained the making process:

I actually started making Metamorphosis III at Art in Action 2012 and completed it back at my studio in Wandsworth. After the form was finished it is burnished several times using pebbles and then finally using the back of a metal spoon. The reason for this is twofold – by compacting the clay and polishing the surface the minute detail of the smoke decorating is allowed to shine through, and it also makes the art extremely tactile (I encourage people to touch my work).  Then a layer of terra sigillata (a fine liquid form of the clay) is painted on and artwork is allowed to completely dry (takes several weeks).
Once the piece was dry it was low fired to 900ºC in my electric kiln before being taken to my smoke firing studio which is located in the middle of Wimbledon Common.  Once there I dressed the sculpture in various organic and non organic items such as wire wool, copper, banana skins etc and then it was placed in to a metal drum, on a bed of the OneOak Project sawdust along with various oxides and salt which will add subtle colour to the art.  Hay is placed around and on top of the work, along with oxides and salt, and then finally a layer of newspaper, kindling and offscuts from the OneOak Project are placed ontop and the whole tin set on fire and allowed to burn. After about 7 hours I left it to smoulder, going back the following day to unveil the sculpture, wash off the ash and polish it with beeswax (it is like wood and every so often needs to be polished with beeswax in order to bring the patterns out).”

More about Deana Lee

After a career in marketing which spanned the globe, Deana decided to follow her passion for sculpting and ceramics and returned to the U.K. to study 3D Design specialising in Ceramics at the Richmond School of Art.  After graduating she was one of 39 emerging artists to be selected for the Chinese Arts Centre’s Professional Artist Development Scheme, through which she received a training bursary as well as a mentoring grant.  In 2011 she was one of six international finalists for Potclays Emerging Makers Award 2011, and recently was shortlisted for BBC Two’s programme “Show Me The Monet.”

Each sculpture that she creates is inspired by her passions; the natural world and travel. Her organic, smoke fired artwork has strong forms and several facets and all are highly burnished as this results in extremely tactile shapes and allows the detail of the smoke pattern to shine through – her pieces are meant to be touched!

Deana says “As far back as I can remember I have always been drawn to the ancient method of smoke firing and how the smoke and flames paint designs on the ceramic canvas. I have taken these ancient processes and use them in a more contemporary way to create unique effects that have depth and fluidity. Of course a considerable amount of planning goes into the decoration design of each piece, but by using smoke firing techniques there is also a significant element left to chance. For me that sense of surprise is definitely a large part of the attraction, especially as my final forms tend to be very controlled.”

Her work is in private collections around the world, and she specialises in creating works of art for specific spaces or people, incorporating some of their world (in the form of sand from their travels or gardens etc) in to the clay body.

Deana Lee ceramics


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OneOak ceramic jug

Category: OneOak project, Wood
OneOak ceramic jug

OneOak ceramic jug by Stephen Parry

The latest in our final few items made using OneOak wood, all of them from offcuts, has been completed by potter Stephen Parry.

For as long as potters have made high fired ‘stoneware’( firings of over 1200°C), wood-ash has been used as a glaze, on it’s own or as one of a number of materials combined to make a glaze ‘recipe’. The first ash glazed pottery is thought to have been made in China during the Shang period (1500 BC ) These pots were most likely glazed accidentally, when the wood-ash from stoking the kiln landed on the pots, melting onto the surface of the clay forming a runny glaze. It is rare now for a potter to use wood-ash as a glaze on its own, but it is often used as a major component in a glaze recipe. Wood-ash glazes are know for there fluid surfaces and there subtle green to blue colour. Each species of tree will give a different glaze, even the same tree grown on a different soil type will  give a subtly different glaze.

To make a simple ash glaze  the wood-ash is first washed to remove the soluble alkalis,(this is a strong and unpredictable flux) and then sieved to remove all the course particles, with would give a rough surface to the glaze. The ash is then dried so that it can be weighed to make a glaze recipe. A simple ash glaze recipe could be: 40% wood-ash, 40% potash feldspar and 20% clay.

Less than a week ago Stephen told us that:

“I spent yesterday firing my wood-fired kiln with the pot, glazed in ‘one oak’ ash. It should be cool enough to open tomorrow (Friday 26th). It is a risky unpredictable process! – puts a whole new meaning to ‘keeping your fingers crossed’. So I won’t know if it is worth sending until tomorrow.”

He continued “After some consideration I decided to go for the interest value rather that the more predictable – So I have glazed my pot (Jug) with 100% ‘OneOak’ ash, rather than making a more conventional glaze out of the ash. I hope it works.”

The resulting jug did indeed ‘work’ and is stunning, having arrived at Sylva in readiness for our next exhibition. Stephen explained that it is a stoneware Jug 50cm high, wood-fired to 1300ºc with 100% ‘OneOak’ ash glaze. He added:

“Well, it came out better than I could have dreamt – that old oak tree must have got something special. Everything that you see on the jug is from the ‘OneOak’ only.”

The OneOak jug will be on display with all other OneOak pieces at Royal Botanic Garden Edinburgh from October 12th – December 2nd.

More about Stephen Parry

Stephen has been living and working in North Norfolk since 1981, where he set up Ryburgh Pottery. Most of his work is thrown using high temperature stoneware and porcelain clays, fired in a variety of wood fired kilns, sometimes firing to well over 1300ºC for up to four days.

He makes a small amount of pots for use in the kitchen, although most of his work is more individual, made in small batches, using soft clay and thick Slips.

Some pots are left unglazed, allowing the wood ash that enters the kiln during the long firings to glaze and colour the work,  he also uses wood-ash glazes including Oak, Apple and Pine ash.

As well as the UK he has also exhibited work in France, Germany Denmark and Japan. He is a Fellow member of the Craft Potters Association.

Stephen Parry:  wood-fired ceramics


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