Brought up in the relative flatlands of Essex, Ann Coomber is a sculptor, now living and working in the remote, mountainous Scottish Highlands, near to the Isle of Skye. Self-taught, she came to creating sculpture late in life, after a career in administration. Ann creates curvy, fluid, small-scale sculptures in stone, each of which contains a personal memory or experience, recording her journey through life, time and landscape.
In 2017, her work was selected for Sculpt at Kew, a major international contemporary sculpture event at Kew Gardens, London and in 2018, she had a solo exhibition at the Sawyer Gallery at National Trust for Scotland Inverewe Garden, where three of her larger works were displayed outside in the garden. She was also invited to participate in a joint, multi-genre artist residency at Inverewe Garden during the summer of 2019.
Self-taught or art-school?
Self-taught really. I was inspired some years ago by a holiday encounter with Inuit soapstone carving and enrolled for a short course at West Dean College at Chichester. I absolutely loved it, and subsequently attended a series of courses there over the next few years – each one extending my knowledge and skills. I feel that coming to sculpture much later in life greatly benefits my work, those extra years of self-knowledge and experience of the world, filtering into each piece.
If you could own one work of art what would that be?
Well, that’s my Desert Island Discs luxury item dilemma. It’s always been a tie between Tutankhamen’s death mask and a late self-portrait by Rembrandt. I think that Rembrandt has the edge though, compassion and integrity over sheer bling! When I lived down near London, I would go to the National Gallery often and always seek out the self-portrait of him in old age, painted after he had been bankrupted and was out of favour. I always felt that I wanted to give him a big hug and say – you were right, you are great and will be remembered for all time.
How would you describe your style?
Generally calm and contemplative, organic and curvaceous, never confrontational, sometimes understated. They are always domestic-scale and I aim for a form that has balance and elegance.
Is narrative important in your work?
Yes, it is. The preservation of memories is integral to the work of my practice. I have always been fascinated by the direct, intimate relationship between First Nation peoples and the natural world. I feel that the close connection between story and art that informs the creativity of our ancient ancestors and First Nation peoples has been hidden in modern times. For them, every drawing, every artefact, contains or embodies complex narratives, ideas, and personal and collective memories that record and direct their movement through life and landscape. They enable these stories to be passed down through generations.
Who are your favourite artists and why?
My goodness, so many to choose from! However, I think that it’s pretty obvious from looking at my work, that I have soft spots for Barbara Hepworth and Henry Moore. I remember a trip to Perry Green during one of my courses and feeling my heart pound when I caught sight of those monumental works. It’s those complex concave and convex curves on simple forms that I absolutely adore – their explorations of inner and outer spaces.
Who and what inspires you?
At the moment, it has to be the weather, particularly here in the Scottish Highlands – we have so much of it! I’m increasingly motivated to make the stone ‘move’ and ‘flow’ like water and wind, expressing memories of love and landscape. Of course, I also love the directness and connection to the nature of indigenous art. It seems to resonate with me.
Are there any recurring themes within your work and can you tell us about them?
The eternal human ones I guess – love, joy, loss, loneliness, connection to nature.
Where is your studio and what’s it like?
I’m very lucky to have two workplaces. I have a large, light, warm room at the end of the house where I model, polish, finish and store the sculptures. The actual carving process is very messy – dusty, with chips of stone flying everywhere. So, I have my roomy carving shed outside in the garden, where I can carve away happily, however, wild the weather around me. It has big windows that look down the garden and glen to the sea and the Isle of Skye.
Do you have any studio rituals?
It has to be total silence when I’m carving or modelling, no radio. I need to totally focus, particularly when carving so that I don’t make fatal mistakes with the chisel.
What are you working on currently?
At the moment, I am working on Elemental – a fluid ‘Nike swoosh’ shaped form that will cantilever diagonally out into space from the plinth – evoking wild joy. It should be finished by late May.
Where can we buy your art?
I have some wee stylised botanical works on Artfinder, but my abstract sculpture is gallery based. At the moment, I have some works with Scotland Gallery in Glasgow. I always have some held in the studio and if you email, I can always let you know what I have available. Sculptures for outdoor or indoor displays can also be commissioned direct.
What are your ambitions?
Just to get better at expressing my ideas and improving my craft, looking deeper and with more understanding. I see my art as a journey, always moving forward, always searching for the truth of a moment.
For more information, visit:
Coomber was selected to exhibit in the latest FLUX virtual exhibition which you can view HERE.
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Join us at FLUX Exhibition 16th – 25th June – The Design District – London. 50 Contemporary Artists/ FREE Tickets Here,
