chriswoodartist

Background

Origins & Influence
My interest in sculpture began in childhood, rooted in an environment that encouraged craftsmanship. Under my parents’ guidance, I progressed from painting to woodworking at a young age, quickly learning the discipline and safety required when handling traditional tools.

Artistic Heritage
Sculpting is a multi-generational pursuit for my family. My great-grandfather, W. D. Gough, was a prominent ecclesiastical sculptor whose works are held in the V&A Museum and across various UK cities, including the Cardiff War Memorial. This heritage informs my dedication to the craft and my appreciation for the sensory qualities of a well-finished surface.

Form & Philosophy
My appreciation for form was heavily influenced by time spent in boatyards, observing the elegant lines and structural integrity of classic vessels. Today, my practice focuses primarily on wood carving to create abstract pieces that explore the interplay between organic forms. I prefer hand tools for the tactile control they provide, allowing for a more intimate connection to the material than power tools permit.

Selected Projects

The Cedar Project
This 6-foot piece of Cedar was sourced from the perimeter of the former Fleet Air Arm establishment at St Vincent College, where I previously taught. The timber presented a unique challenge, having grown around several sections of barbed wire that required careful extraction. This ongoing project is a study in preservation, as I work to remove rot and reveal the inherent beauty of the original timber.

 
Shipping Lines (1996)
Scaffold Poles, Spinnaker Nylon, Nylon Rope (9 x 5 metres)
A collaborative installation with Janice Shales for an ArtSpace exhibition at The Square Tower, Old Portsmouth. Originally intended for the roof, the piece was eventually installed as a central interior feature. This large-scale work marked a significant point in my career before my transition to focusing on natural materials and smaller-scale carvings.

Portfolio of Works

Wavetrain  

Pitch Pine, Briwax and Stainless Steel.

Not Blinking but Sinking
Willow, Lead, Copper Nails, Briwax, Painted MDF, Mirror Tiles

Bawdsey Manor
Pitch Pine, Eucalyptus, Danish Wood Oil, Beeswax
Inspired by the early warning radar arrays at former RAF Bawdsey, Suffolk.

In Irons
Brazilian and African Mahogany, Danish Wood Oil, Marble

Raedwald 2
English Oak, Danish Wood Oil, Beeswax
Inspired by the Anglo-Saxon burial mounds at Sutton Hoo, this piece reflects the depression left by a Saxon longship. The work shares a geographic connection with the Woodbridge boatyard where a full-size replica of the 90’ vessel is currently being constructed—on the same site where my own classic boat was built in 1938.

An Unguarded Moment in the Life of Peter Palmer
Plaster, Gold Leaf, Graphite Powder, Canvas Bag
An “intervention” piece created for Portsmouth City Museum & Art Gallery. This work interacts with a life-size ceramic figure of Peter Palmer and a painting by Bridget Riley, adding a narrative element through a plaster Jack Russell and associated ephemera.

Acromium
English Oak, Tallow, Beeswax
Taking its name from human anatomy, this work explores the form of the bony protrusion at the apex of the shoulder.

Grapeshot
Laburnum, Yew, Jelutong, Ash, Sycamore, Yacht Varnish, Nylon, Brass

Ilex Aquifolium

 Holly, English Oak, Danish Wood Oil & Beeswax. Overall Height 775 mm Width of oak base 178 mm