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| Roger Ackling, Memory Stick, 1978, in catalogue (boxed luggage labels) for "Fo(u)ndlings: an exhibition of 'found' art" at Coracle Press, 223 Camberwell New Road, London, SE5, 1978. (Exhibition also included Glen Baxter, Thomas A. Clark, Les Coleman, Simon Cutts, Richard Long, Len McComb, Eduardo Paolozzi, Tom Phillips, and many others; catalogue numbered 307 of an edition of 300 copies [sic]. |
Roger Ackling drew with light. His working method remained remarkably consistent from the 1960s until his death - indeed, Sylvia Ackling reported that he often said that he was 'always making the same work.'(1) His method was to focus the rays of the sun through a magnifying glass and burn lines onto pieces of found wood or card. The modestly scaled pieces have about them something of Minimalism, something of Conceptual Art, something of the Wabi-Sabi aesthetic he admired. They are simple, beautiful, perfectly imperfect.
Roger Ackling studied at St Martin's School of Art (1965-8) where he was a contemporary of Richard Long and Hamish Fulton; his gentle aesthetic has been associated with the Coracle Press, the Cairn Gallery, Nailsworth and the Ingleby Gallery, Edinburgh.
Read obituaries by Richard Long and Chris Yetton.
(1) Sylvia Ackling (1998), 'Lines of Latitude', in Roger Ackling: Set Aside, London: Annely Juda Fine Art, [p53]
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| Roger Ackling, Five Sunsets in One Hour, 1978 |
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| Roger Ackling, France, 1986 |
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| Roger Ackling, Weybourne, 1992 |
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| Roger Ackling, Weybourne, 1995 |
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| Roger Ackling, Japan, 1996 |
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| Roger Ackling, Voewood, 2001 |
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| Roger Ackling, Voewood, 2009 |
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| Roger Ackling, Voewood, 2009 |
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| Roger Ackling, Voewood, 2010 |
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| Roger Ackling, Voewood, 2010 |
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| Roger Ackling, Voewood, 2011 |
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