Unarguably the forest's most photographed sculpture, the face of Grizedale and one of the most arresting and impressive pieces of the lot, David Kemp's second 'Ancient Forester' arrived in 1995. The original had been looking a little worn for a couple of years and so, after being packed off for an early retirement up at Carron Crag, he was replaced with a newer, fresher model.

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Like its predecessor, 'The Ancient Forester II' was constructed from various bits of trees. It has become a much-loved artwork and David Kemp himself has proved to be one of the most prolific sculptors to grace Grizedale. He has also written about the forest at length on several occasions; the following is taken from Peter Davies and Tony Knipe's book 'A Sense Of Place: Sculpture In Landscape'. I've quoted a fair bit of text, but I think it perfectly sums up what sculpture in Grizedale is all about, and why you should go and seek it out for yourself:

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"No photograph or series of photographs can fully explain sculpture, especially the Grizedale Forest sculpture. Too much information is excluded.

For a start, eight thousand, seven hundred and thirty acres of forest have been left out. There are a hundred miles of trails and footpaths in Grizedale. Some sculpture is camouflaged by its harmony with its setting. It is possible to walk right past it and not notice it. Others are hidden, quite literally, off the beaten track. Some are found, some are secret and some have gone with the passage of the seasons. The click of the shutter exposes only the film.

Also omitted is the rhythm of walking. There is no evidence of the trudge of boots on gravel, on mud, on pine needle carpets, up hill and down.

There are no words, no footnotes by the footpath. The sculptures are anonymous. The formality of the art gallery is missing. The observer must make their own decisions. The sculpture is the prime communicator. It asks you to decide the nature of its dialogue with the forest. The pieces enjoy a special relationship with their environment. They are brought in and out of focus by the passer-by. They are intervals within the rhythm of a forest walk.

Sculpture in the open air is more than sticking statues out in the rain. The process has the potential to be an integrated response to a certain environment and situation. Its public position can lead an artist to consider his own place in society. It could be a move towards re-integration.

Sculpture in the open air is not found in art galleries. Neither will it be discovered in books. You have to put on your walking shoes. Grizedale Sculpture requires hiking boots. Pack your lunch, take a camera if you like."

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Also by this artist:

The Chariot 1980

The Heron 1981

Rook Crossing 1981

Scale Green Birdman 1981

Deer Hunter 1982

Forest Fugue 1984

The Woodwinders 1984

The Ancient Forester 1988