シンダーフォードでの 周辺の簡単なハイキングとウォーキング

I took a group of SEND students around the shorter circuit and they loved it. thank you FE for the fun trails

A really good trail - great for keeping teenagers interested too

White Gates a great meeting point of a number of tracks and trails, either continue on the family trail, the sculpture trail or be a bit more adventurous on one of the others! Most of these tracks can be worked in loops of varying distance or can be used to transit to other parts of the forest 👌

Echo was commissioned to commemorate the untimely death of one of the founders of the Forest of Dean Sculpture Trail, Jeremy Rees, also founding director of the Arnolfini, Bristol. The intricate sculpture is sited in a small quarry, replicating the exposed rocks of the quarry wall in fibreglass. Echo was funded by the Arnolfini Collections Trust and the Esmee Fairbairn Foundation. Thanks also to Bombay Sapphire and the Speech House Hotel for their generous sponsorship.

Meander is a steam-bent oak bench designed to be a resting place that invites visitors following the trail to stop, observe, and spend time in the beauty of the forest. Its strong, winding form represents the resilience and solidarity found woven through the landscape, heritage, and people of the Forest of Dean. Veasey joined sculptor and leading steam-bending expert, Charlie Whinney, to collaborate on the fabrication of the piece at Charlie Whinney Studios. The large natural pieces of quarried Forest of Dean sandstone supporting the sculpture have been provided by Birch Hill Quarry. Veasey’s desire to work in harmony with the forest is reflected in her choice of natural materials, with the oak and sandstone reminding of industries within this ancient, working forest.

Gathering’, is an interactive and colourful artwork that encourages physical engagement from visitors who encounter it. Created by artist Julian Wild, the sculpture consists of 12 coloured metal vertical forms grouped together in a clearing to represent natural structures found in the woodland, recalling shoots growing out of the ground. Joined to these structures are several mirror-polished stainless-steel elements that resemble the shape of woodland fungi. Julian worked with local school children at Heart of the Forest School, and included their ideas for incorporating tactile touch points, reflective surfaces and colours into the final piece. Alongside the smooth surfaces of the fungi, texture panels are hidden on some of the sculptures for people to find, which enhances the experience of the artwork for visually impaired visitors.

Cornelia Parker 1988 Locally smelted iron ore has been formed into rings of flames high up in the trees. A poetic work that implies the crowning of the trees in this once royal forest.

Henry Castle 2016 300 million year-old tree fossils sit alongside two cast iron sculptures sited 300 metres apart, representing the distance of the nearest coal seam below ground.

Miles Davies 1988 Reminiscent of the mine-shafts that probe deep into the forest below, this house also alludes to the forest being a home to many.

Natasha Rosling 2019 This crevice formation reveals a patchwork of subterranean rock faces cast from Clearwell Caves iron ore mine, recalling a history of labour through the marks left by miners in the rock.

Ian Hamilton Finlay 1986 High in the trees, these three plaques draw attention to the stillness of their environment. Their simplicity of form offers a space for contemplation.

Keir Smith 1986 Twenty carved jarrah wood railway sleepers represent the train line that used to run through the forest. Each sleeper illustrates an aspect of the forest, from smelting to writing, charcoal to hunting.

Khady Gueye and Zakiya Mckenzie 2021 A charred monolith etched with a poem that contem-plates lived experience of racial inequality in the Forest of Dean.

Tim Lees 1988 Created using local stone, this sculpture echoes the shaft of the drift mine on which it sits. The fish-like shape alludes to the geographic location of the forest, which is situated between the two rivers of the Wye and the Severn.

The Forest of Dean Family Cycle Trail meets the Sculpture Trail (walkers only) at White Gates, offering cyclists the chance to see some of the sculptures. Be particularly aware of pedestrians in this area.

The Forest of Dean sculpture trail is an extraordinary group of artworks spread through this area, whisking you away into another world. The Cathedral sculpture by artist Kevin Atherton is one of the most awe-inspiring. This phenomenal work of stained glass hangs above the trail, creating a sublime window into the cathedral of the forest itself. When the sun catches it, the effect is fantastic.

A carving of wood and stone, Keir Smith worked on The Iron Road for almost a year. It’s a cool sculpture - great for concentrating hard and running over! Here’s what the Forest of Dean gang say about it: ‘Twenty evenly spaced railway sleepers on the gentle curve of a disused railway line bring the spirit of the Forest’s industrial past to life. Skilfully carved out of the wood are poetic images of natural or industrial life — a feather, a leaf, a wheel, a factory or a cloud. The jar with water pouring out refers to the stream running under the embankment. The wood is a Eucalyptus called Jarrah, and the sleepers were obtained from the London Underground.’ Love it! Take the time to check out each individual sleeper carving.

Super Awesome sculpture, commissioned in 1986 - offering a window to the forest. Looks gorgeous when the sun shines through it but also looks different through the seasons - so worth looking at more than once! Here’s what it’s all about according to the Artist 👩🏼‍🎨 Kevin Atherton: “Although consisting of one large window 15 feet high by 10 feet across, Cathedral is not just about itself as an example of the art of stained glass. The undeniably attractive qualities of stained glass are in this instance secondary to the idea of placing the window in the forest. Operating as a visual trigger, the window is intended to serve to connect mentally the concepts of two separate spaces, the ‘forest’ and the ‘cathedral’. Amongst the common features shared between forest and cathedral is the way that they are affected by natural light. In both cases there exists a darker, interior light, in the spectator’s space, surrounded by a brighter, outside light. This is an essential ingredient, fundamental to the viewing of stained glass and, as applied in Cathedral means that in order to see the window properly the viewer has to enter into the forest.”

2) Created using local stone, this sculpture echoes the shaft of the drift mine on which it sits. The fish like sculpture alludes to the geographic location of the forest, which is situated between the two rivers of the Wye and the Severn.