Anjou Close Public Art Commission

August 24, 2017

Castles are like Stables, Anjou Close Public Art Commission

Throughout July and August, we’ve been working on something a little different in the studio, where some beautiful curves and text have been shaping up in the workshop!

We’ve been working in partnership with ‘a space’ arts, Southampton and Stonewater Housing to produce a public art piece commissioned for a new small housing development called Gascony Place. The artwork has now been installed in Anjou Close under a beautiful old oak tree, in the Bearwood region of Bournemouth.

Anjou Close, like many of the surrounding streets, is named after a historical location with strong links to the crusades. Taking into consideration this link to the crusades and to the region of Anjou in France the artwork was conceived to take the form of a large wooden pennant, with reference to those depicted in use during the crusades.

The Pennant was designed and constructed in our workshop using oak, and to achieve the tight curves we made our own in-house laminates. We wanted to give the piece an element of lightness and movement, so therefore constructed the form from ten individual sections that taper at one end. The inlaid poem was written by Amy Lloyd and inspired by the story of the Crusades, and expertly hand-carved by Sarah Goss.

It has been an absolute pleasure to work with everyone involved in this project.
Project commissioned by ‘a space’ arts. Funded by Stonewater Housing.



Curved oak pennant in situ made as a public sculpture. Made with five strips of curved oak.



‘Drenched in teeth from royal mouths
their castles filled with dogs and foxes.
A queen amongst poultry, rinsing her fingers, and retaining the self-possession of position
A friction that itches at kings
though they wrap themselves in blankets, even on the battlefield and gather up the teeth of foxes
Palms upon the battlefield
mid honey hives and toothy trees
and castle floors spread with straw,
dogs and foxes all.’

Poem by Amy Lloyd



Detail of the sculpture showing part of the poem hand carved into the front surface.


The lettering being hand-carved in the workshop


The sculpture assembled in the grounds of our workshop as a dry run before final installation on site.


Edward Johnson's original sketches of the sculpture in front elevation and plan view


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