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The Eavesdropping Sea, 2018
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Born in 1941, Wenham’s interest in lettering was stimulated at an early age. At university Wenham read botany and forestry, his artistic propensity aiding with precise observational drawing. Throughout this time an interest in pen-lettering persisted and after a research colleague requested a carved house-name in wood Wenham approached the professional carver Harry Spring, who showed him the basic technique of letter-cutting.
After a year Wenham left research and for the next 23 years taught in secondary, primary and special schools, with 9 years’ lecturing at the University of Leicester. He first exhibited his letter-cutting work in 1982; since 1984 it has been shown in the major British exhibitions of lettering arts. Wenham’s work is held in the Crafts Council’s Permanent Collection and in private collections in Britain, the USA, Germany, Japan and Puerto Rico.
After a year Wenham left research and for the next 23 years taught in secondary, primary and special schools, with 9 years’ lecturing at the University of Leicester. He first exhibited his letter-cutting work in 1982; since 1984 it has been shown in the major British exhibitions of lettering arts. Wenham’s work is held in the Crafts Council’s Permanent Collection and in private collections in Britain, the USA, Germany, Japan and Puerto Rico.
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About the Work
Signed verso driftwood, probably sycamore, red ochre acrylic on a base of sea-worn slate.
Although Martin works with a lot of found and discarded wood, it is not very often that he comes across a piece which can be worked on with no preparation. Found on Criccieth beach, the only work to be done was to cut the base straight so it could stand up. Erect, the wood looked like a signpost. It reminded Martin of Vernon Watkins' poem Taliesin in Gower, in which the mythical poet muses on himself, his past, his world and his music. The words here are the envoi; the last line of the poem.
The pale wood looked rather like a bone, calling to mind the palaeolithic skeleton found at Paviland on Gower (of which Watkins also wrote). It was coloured with red ochre, a pigment which seems to have symbolised life for many ancient peoples, so Wenham used this in the letters to make another link to Watkins, his poems and his homeland.
A free copy of Martin Wenham’s new book Martin Wenham The Art of Letter Carving, published by Crowood Press (price £25), will accompany each purchase from the exhibition.
Although Martin works with a lot of found and discarded wood, it is not very often that he comes across a piece which can be worked on with no preparation. Found on Criccieth beach, the only work to be done was to cut the base straight so it could stand up. Erect, the wood looked like a signpost. It reminded Martin of Vernon Watkins' poem Taliesin in Gower, in which the mythical poet muses on himself, his past, his world and his music. The words here are the envoi; the last line of the poem.
The pale wood looked rather like a bone, calling to mind the palaeolithic skeleton found at Paviland on Gower (of which Watkins also wrote). It was coloured with red ochre, a pigment which seems to have symbolised life for many ancient peoples, so Wenham used this in the letters to make another link to Watkins, his poems and his homeland.
A free copy of Martin Wenham’s new book Martin Wenham The Art of Letter Carving, published by Crowood Press (price £25), will accompany each purchase from the exhibition.
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