david gross
Mediums Used
David Gross works with wind-felled trees, wood from managed forests, and salvaged timbers with holes and markings that hint at its history. When he`s working wood, he is simultaneously looking for new ways of using it, while researching how it was used historically. Marks and holes from previous use and natural flaws and splits are exploited for expressive purposes.
He enjoys using wood to make sculptures from observation and study.
In recent years he has made several sculptural studies of natural subjects such as insects, leaves, seeds and faces.
To give his subjects the impact and attention to detail that they deserve, David enlarges them as much as possible, and, in order to free himself from the limits of the size and structure of a tree, he will often have to use some heavy duty joinery and construction.
There is a point in the production of each sculpture when the object starts to attain its own identity. This is when his focus shifts from observation to a more open ended experimentation in new directions arising from the juxtaposition of rudimentary wood technology and complex anatomy.
This interaction itself becomes meaningful as, for instance, when a carving of a face becomes a fragile membrane, bearing scars and weather beaten, a cracked and pinned-together skin, struggling to protect that which lies behind. Though all the sculptures are actually extremely strong and durable, vulnerability and fragility are implied in every case
David Gross works with wind-felled trees, wood from managed forests, and salvaged timbers with holes and markings that hint at its history. When he`s working wood, he is simultaneously looking for new ways of using it, while researching how it was used historically. Marks and holes from previous use and natural flaws and splits are exploited for expressive purposes.
He enjoys using wood to make sculptures from observation and study.
In recent years he has made several sculptural studies of natural subjects such as insects, leaves, seeds and faces.
To give his subjects the impact and attention to detail that they deserve, David enlarges them as much as possible, and, in order to free himself from the limits of the size and structure of a tree, he will often have to use some heavy duty joinery and construction.
There is a point in the production of each sculpture when the object starts to attain its own identity. This is when his focus shifts from observation to a more open ended experimentation in new directions arising from the juxtaposition of rudimentary wood technology and complex anatomy.
This interaction itself becomes meaningful as, for instance, when a carving of a face becomes a fragile membrane, bearing scars and weather beaten, a cracked and pinned-together skin, struggling to protect that which lies behind. Though all the sculptures are actually extremely strong and durable, vulnerability and fragility are implied in every case
Sculptures by david gross
Credentials
Qualifications
1991-1993 MA Fine Art, University of Northumbria.
1982-1985 BA (hons) Fine Art (Sculpture), First Class, West Surrey College of Art and Design.
1980-1982 Foundation Studies in Art and Design, Bolton Metropolitan CollegeFellowships
1989-1990 Artescape Fellowship, Sturton-by-Stow, Lincoln.
1985-1986 Euro Fellowship, Involved teaching and studio work in art schools in Exeter and Rotterdam.,1991-1993 MA Fine Art, University of Northumbria.
1982-1985 BA (hons) Fine Art (Sculpture), First Class, West Surrey College of Art and Design.
1980-1982 Foundation Studies in Art and Design, Bolton Metropolitan CollegeFellowships
1989-1990 Artescape Fellowship, Sturton-by-Stow, Lincoln.
1985-1986 Euro Fellowship, Involved teaching and studio work in art schools in Exeter and Rotterdam.Exhibitions
yes
Born: Bolton, 1960 of English and Lithuanian parents.
David Gross works with wind-felled trees, wood from managed forests, and salvaged timbers with holes and markings that hint at its history. When he`s working wood, he is simultaneously looking for new ways of using it, while researching how it was used historically. Marks and holes from previous use and natural flaws and splits are exploited for expressive purposes.
He enjoys using wood to make sculptures from observation and study.
In recent years he has made several sculptural studies of natural subjects such as insects, leaves, seeds and faces.
To give his subjects the impact and attention to detail that they deserve, David enlarges them as much as possible, and, in order to free himself from the limits of the size and structure of a tree, he will often have to use some heavy duty joinery and construction.
There is a point in the production of each sculpture when the object starts to attain its own identity. This is when his focus shifts from observation to a more open ended experimentation in new directions arising from the juxtaposition of rudimentary wood technology and complex anatomy.
This interaction itself becomes meaningful as, for instance, when a carving of a face becomes a fragile membrane, bearing scars and weather beaten, a cracked and pinned-together skin, struggling to protect that which lies behind. Though all the sculptures are actually extremely strong and durable, vulnerability and fragility are implied in every case.
Davids commissioners have included Durham Cathedral, Bowes Museum, The Captain Cook Birthplace Museum, Hartlepool Museum, Beamish Museum, Hampshire Sculpture Trust, and The Forestry Commission, as well as many local authorities, schools and community groups
Medieval Sculpture, Aztec Sculpture, Egyptain Sculpture, African Sculpture, and especially North West Coast Americam Indian Sculpture
Recent Residencies and Commissions
2015-6 Series of commissioned carvings and outreach work for Durham Cathedral.
2014 A giant sculpture based on a Horse Chestnut seed along with a seat and carved posts for Oxhey Park, Watford.
2013 A series of large scale sculptures based on the Cook voyages for Stewarts Park, Middlesbrough. Large curved backed seat with carvings for a community garden in Ecclefechan, Southern Scotland. Sculpture projects with Acre Rigg Infant and Junior schools in Peterlee, County Durham.
2012 A series of Large scale sculptures and seats for Shadforth park, County Durham.
Entrance gateway carvings for a new children`s park at Bowes Museum.
Carved seating project for Durham Cathedral Riverbank.
2011 Two large scale outdoor classroom structures including seating and carvings for Mortimer Primary School, South Shields.
Carved arched entrance feature for Chopwell Village, Gateshead.
Arched gateway carvings for the Ribbon Primary, Murton, County Durham.
2010 A series of large scale sculptures and seats for View Lane Park, Stanley, Co Durham.
Large Scale circular seat for North Cemetery, Hartlepool.
"Iron Man" an electronics and timber sculpture for Cotsford Junior School, Horden, County Durham.
Coundon and Leeholme Allotment project - Carved seating and shelter.
Maori Story-telling seats "Working with the Captain Cook Birthplace Museum for the Cultural Olympiad"
2009 "Mana Wacca" a twenty foot long Maori War Canoe made during a collaboration with George Nuku, a Maori artist.
A series of large scale carved seeds and leaves for Wingate Welfare Park, County Durham - phase 2.
Carving for signage to the new exhibition space at Shipley Art Gallery, Gateshead.
2008 Healthworks, Easington - seating and large scale carvings focusing on health and water.
Wingate Welfare Park, woodland sculptures and seating - Phase 1.
Bowes Museum - "Story tree"
2007 Durham Cathedral - "St Cuthbert`s Chair"