2025 Sculpture submissions

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Annies credentials:Member of NOVA 2003 - 2016Member and chairman of NOVA - 2013-2014Member of CASALF and secretary 2010-2011Founding member of COASTChairman of COAST 2018 & 2016Instigator and developer and curator in partnership of various exhibitions with COAST and Worked in conjunction with various national and internal artist s in collaborationOlivia MansfieldBrian LewisCoralie Mansfield,Arjun MuhajadeenGuy PortelliSusan Purser HopeEXHIBITiONS Anthrosophical sculptures at Hoathly Hill Community in East SussexPermanant collaborative sculpture at East Grinstead Council’s Peace Garden Monstrance - Norwich Cathedral - a collaborative work with Sue Purser Hope Alchemy In The Woods (COAST)Preview for Open studios (wooden work) ?Literary art based/creative work:COAST magazine editor x 3Small Is Beautiful exhibition catalogueWorked with Lynne Truss author on creative workshops

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Paeony Lewis

Sea Meets Land Please see attached proposal. To summarise: The sea flows ever nearer the Grove Hotel, undermining the cliff. I propose a visual response to the complexity of fluid erosion. A force we try to control, but can we? Using alternative photography, large UV-printed acrylic sheets will display the unseen energy of water through the shape of the ripples, and the surrounding landscape will be glimpsed through purposely translucent areas of ripples that emphasise the power of water to shape the landscape.

When visiting the Grove Hotel, I walked through the gardens and along the path that leads through the trees to the cliff edge. Here the sea meets the land and I wondered how far the cliff had eroded since a house was first recorded on the site in 1747. Water has shaped the land in Cromer and Overstand through glaciers, steams, flood water, rain and the sea. However, it is the hotel’s position, so close to the receding cliff, that led to the idea of displaying my watergram ripple images in a new way, on eco-acrylic, with translucent areas to integrate the landscape into the artwork.

I submitted a proposal, ‘Sea Meets Land’, on 31 January. I’m not sure if it is necessary to mention that my idea is developing from two recycled acrylic sheets, to a single sheet, BUT now the single sheet will have the same image on the rear (a mirror printing) and the translucent areas will match exactly so the surrounding landscape will remain visible through selected ripples. Thus there will no longer be a back and a front, and it may be viewed from either side. With thanks, Paeony

I was born in Canada but moved to Germany in the early nineties then to the UK in 2015. I am a bit of a nomad, so I have always worked in and with whatever materials the environment I lived in provided me with. Sometimes larger sculptural works were attainable but at other times only small works were possible. With every move the conditions and hence my work changed. On a trip to Carrara, Italy in 1998 I began carving stone and then later wood. Just before moving to the UK I found a damp and decaying but beautiful piece of wood in the Palatinate Forest in Germany. It had to come with me. This was the beginning of a new body of work involving small figure impressions of raku fired clay exploring the situational diversity that my figures sit within. I love the ambiguity of meaning that can arise - an opportunity for the viewer to consider and make their own interpretation.My installation in Cley 2021 reminded me of the challenge I had during a symposium in Germany in 2005 where I created large abstract Papier-mâché objects that were draped and strung up in the rooms of a derelict brewery. Since then, it has led me to develop my work and I have exhibited in The Undercroft, Norwich and Port to Port, Great Yarmouth 2019, Raveningham Sculpture Trail 2021, Cley 2021, Wighton 2023 and 2024, North Norfolk Exhibition Project, Black & White a solo exhibition at Cromer Artspace in 2023 and Bayfield Sculpture Trail 2024.

When the beech prospersThrough spells and litaniesThe oak tops entangleThere is hope for trees.It is this interaction of love and life that I wish to create.

It has always been exciting for me to create work that is site specific — working within an environment be it natural or constructed. It can be said that my installations are theatrical as well as sculptural. My proposed sculpture for The Grove works with the existing natural settings and interacts with it to create a new work where both elements depend on each other to create a new sculptural world — very much like my 2024 sculpture Impermanence at Wighton invited a Little Owl to perch on it. The man-made and natural were forged together.

My creative work spreads across a variety of media both 2D and 3D but whether printing, painting, ceramics or sculpture, the process always starts with drawing.I’ve always drawn, when I was nine years old, I won a Typhoo Tea competition with a drawing of tea-cups and lions in a desert! Often humour is still to be found in my work, particularly my ceramics, sculptures and Christmas card. Studying technical subjects instead of fine art meant that whilst raising children, I continued drawing even though mainly straight lines for planning applications.Having not been to art school meant all my creative studies were independent - learning skills and methods as I came across new materials and processes. Exploration and experimentation have always been a priority. Like playing the piano, drawing needs to be practised, so life-drawing at least once every month is an important discipline. Much of my work involves the human figure but often concepts arise from a subconscious experience which interacts with the materials, resulting in a spontaneous form or painting - an intuitive and emotional process. Since covid, portrait drawing on zoom has proved a boon, distorted faces, strange camera angles, bringing new dimensions to perception.On the other hand, I enjoy the challenge of working to a brief, responding to a call-out which has a theme. In this instance, my visual and emotional memory help to develop a proposal in tandem with the enjoyment of a journey drawing in metal.

My proposal is the 'Corten Family'. Recently I have been learning to cut and weld metal. My proposal is for a group of faces representing a family. The faces will be made from corten steeil (which gives them the name!). I envisage a two tier open sided plinth, with adults on higher level, children and dog on lower level. Plinth will be metal rods welded to base plate, which in turn will be pinned into the ground.

The Grove has flat areas of grass onto which the Corten family could be pinned (needs flat area). The Cortens will represent the happy experience of being together on holiday at the Grove! A location perhaps close to one of the garden/wood paths where families will take a walk. Viewed from one dominant side.

Hoping that my application will be successful!

Poppy Whatmore

My proposal is to develop a series of sculptures, from the work called ‘’The Intruder” (see images 1-3). The work is a pink gloss painted gate, with pigmented jesmonite crawling over and in the gate. As primarily a practising sculptor, I aim to develop a series of free-standing pigmented gates, about 5, with long worm-like forms pouring over and in the gates, as well as crawling in and out of the ground. The intention is to make the worms pour over the gates with ease, offering a zoomorphic and anthropomorphic performative element of movement through landscape, over gates, which are symbolic and physical borders between fields, private land and public walkways (image 5 is a sketch drawing of plan and image 6 offers planned use of colours with the backdrop of the grounds of Grove Hotel). I envisage the site-specific work will sit on the flat grounds of the grounds and interplay with each other; or some will sit in response to the boundaries of the hotel grounds. The work fits onto the site, as the development of ‘The Intruder’ examines our relationship to public walkways in the United Kingdom. The theme is to celebrate the importance and freedom of boundlessly being able to roam across our rural landscape – facilitating the countryside to be enjoyed by all – not just private landowners.

Cromer is part of the Norfolk landscape where sandy beaches and plenty of attractions can be enjoyed. Wonderful walking along the Norfolk Coastal paths can be experienced by all. Through this work I want to honour the public rights of way in Britain, along coastal paths. These paths are some of the oldest inscriptions of our landscapes – a tangible record of people’s movements over the centuries. By marking these landmarks at Grove Hotel, I aim to explore the melting pot between public and private land. As Baroness Hayman said, Minister for Access, “These well-trodden routes, many of which have been in place for hundreds of years are a part of our shared heritage and it is critical…that we protect.. their long-term future.’ I am recently installing another series of sculpture, called ‘Playtime’ in a golf centre along the Thames at Winter Sculpture 2025. Three pairs of wellington boots are configured to express the joy of being outside as they are kicking upwards (image 7). I want to continue the pursuit of making these series of outdoor sculptures to highlight the pleasure of accessing the great outdoors and experiencing our countryside in playful and dynamic approaches. This opportunity would allow me the occasion to advance my themes celebrating public land and realising new outdoor and ambitious sculptures in an exciting setting.

Education1992 – 1995 BA Hons (1st Class) Silversmithing and Metalwork Camberwell College of Art1992 – 1993 Foundation Course in Art and Design West Notts College1983 – 1990 Wisbech Grammar School 11 GCSE/ O levels, AS level in History of Art,3 A levels (All grades A to C)Experience2020 – current Resumed my art practice in sculpture working in metal and wood andeverything that entails such as setting up for exhibitions and photographingmy work.2017 – current Part-time cleaner for a private holiday letting company, taking responsibility forthe properties when the owners are away.2001 – 2013 Built and renovated our home in Norfolk, working alongside andindependently of builders, learning new skills.1997 – 2001 Set up my own company as an agent for artists and designers.1996 – 1998 Forge Ahead, BatterseaPart time job helping with organising photoshoots and props for productsand furniture.1995 – 1996 Ore Design Company, BatterseaDesigned bespoke furniture and liaised with the artists and makers.Worked in the shop

My proposal is a minimalist sculpture of two interlocking steel curves that speak of boats, fish and the sea. Made of 3mm laser cut steel the work will be allowed to rust to achieve the final finish and lacquered to prevent further oxidisation. The finished piece will be approximately L:1m x W:60cm Each piece of metal is located into slits and is held by its own weight.

The work is a representation of Cromer's rich maritime heritage, crafted from two elegantly curved metal strips. The design evokes the graceful, sweeping lines of fishing boats as they cut through the waves off the Cromer coastline. The smooth, flowing curves symbolize the rhythm of the sea, with its ebb and flow, while the strength and resilience of the metal reflect the enduring relationship between the local fishermen and the waters they rely on. Together, these forms capture both the timelessness and the fluidity of Cromer's fishing tradition—its boats, its people, and the vast sea that has shaped the town for centuries.

Beth GroomBeth’s prac/ce engages with a wide variety of materials and processes. Ideas are usually ins/gated through a playful manipula/on of everyday objects and forms, found or discarded. The resul/ng work is oAen curious, ambiguous, and invites rather than answers ques/ons.Beth graduated from Norwich School of Art and Design with a BA Hons in Fine Art Sculpture in 2003, where she met fellow sculptor and maker Jack Wheeler. They live and work in Norfolk with their three children. Alongside her studio prac/ce Beth is an Arts facilitator at Barrington farm, a unique and inspiring studio suppor/ng self taught ar/sts with learning disabili/es.Exhibi/ons2024 Bayfield Hall Sculpture Trail, Bayfield Estate, North Norfolk curated by Sarah Cannell Summer Exhibition, Wighton Church, Norfolk, curated by Debbie Lyddon & Mary Crofts2023 Cycle, Wighton Church, Norfolk, curated by Rachel AllenAssembly House Summer Show, Norwich Norfolk, curated by Henry Newcomb2022 Constructs, Black Barn, Cockley Cley, nr Swaffham, Norfolk, curated by Hugh Pilkington. Rivers Edge, Ballroom Arts, High Street, Aldeburgh, Suffolk, curated by Contemporary &CountryRaveningham Sculpture Trail, BecclesWaveney & Blyth Sculpture trail, Potton Hall, Blythburgh Rd, Saxmundham.2021 Open Show, Black Barn, Cockley Cley, nr Swaffham, Norfolk, curated by Hugh Pilkington. In the Company of Galleons, Salthouse Church, Norfolk.Raveningham Sculpture Trail, Beccles Road, Raveningham Norfolk.Nowhere, Cley, St Margarets Church, Cley, Norfolk, Curated by Amanda Geitner2020 Raveningham Sculpture Trail, Beccles Road, Raveningham Norfolk, NR14 6NU2019 Woven Woodland, Raveningham Sculpture Trail, Beccles Road, Raveningham Norfolk.Summer Show, Black Barn, Cockley Cley, nr Swaffham, Norfolk2018 Sculpture for Park, Garden, Home, Black Barn, Cockley Cley, nr Swaffham, Norfolk. The Greater The Distance The Clearer The View, Cley Church, Norfolk, curated by DrCaroline Fisher.2017 Some Artists Working Sculpturally, Black Barn, Cockley Cley, nr Swaffham, Norfolk 2016 In Norfolk Now, Cley Church, Norfolk, curated by Hugh Pilkington.2015 Paper & Sticks, Salthouse Church, work by Beth Groom & Jack Wheeler.2014 A Creative Conversation, Cley Church, Norfolk, curated by Polly Binns and Rod Bugg. 2012 Aisle and Air, Cley Church, Norfolk, curated by Isobel Vasseur.2011 Ad Limina, Salthouse Church, Norfolk, curated by Laura Williams.2009 Salt of the Earth, Salthouse Church, Norfolk, curated by Simon Martin.2008 ‘Markings,’ Salthouse church, Norfolk in support of Liz Humphries.2006 Norwich Fringe Festival at Bally Shoe Factory.2005 Norwich Fringe Festival at Bally Shoe Factory. (Target Art Prize for Sculpture).2004 ‘Like Beads on a Abacus Designed to Calculate Infinity,’ curated by Andrew Hunt at Rockwell Gallery in London.Instagram: @bethgroom.art www.bethgroom.co.uk

Cromer Artspace Sculpture @ the Grove 2025 ProposalFor Cromer Artspace Sculpture @ the Grove 2025 I propose to make a group of sculptures human scale made out of two elements, stag-headed oak and recycled sheet materials.Stag-headed oak is the phenomenon that happens when old limbs of the tree die back naturally or by a variety of causes over a long time, the bark and sap wood disappears leaving the weathered heartwood which is often blow to the ground in storms. I have chosen stag-headed oak for its natural cracks and fin like surface created as the wood dries. I have used this material in some small sculptural maquette and inserted recycled sheet metal or wood. Please see images below to give an idea.For the Grove I would like to take this idea further and construct with the stag-head oak branches and be more playful with balance, colour and composition using the two elements. My current thinking is to be led by the material and the process of making to create new work. The patterns and shapes I will cut out of the sheet material to reflect my experiences and observations with the natural and manmade objects and will use colour to add bold contrast to these abstract structures.

I feel the work proposed will relate to the site because my work may have references surrounding food, flora, or the environment in an abstract way. This may relate to the hospitality business that occupies on site, or the rock pools and coastline North Norfolk is renown for and I have grown up with.I am flexible to where my work can be sited I am thinking freestanding, I am also drawn to the kitchen garden or where edible plants grow, because I like to grow myself and have previously worked on organic farms. I feel the sculptures could work in a border or a shingle area. If I had a budget or time to spend on site I would interact within the site and become more familiar.

I'm a Leicestershire based artist, only recently, starting my journey into art. I have a particular interest in nature and how man-made structures fit into the natural landscape. I work in a variety of media, including cyanotype, monotype, photography and various paint types and also produce small scale sculptural pieces, reusing scrap materials, mostly metal, currently with a focus towards stylised botanicals.

With areas of Norfolk being well know for beautiful poppy fields, particularly in the field boundaries and on the edge of hedgerows, I am proposing to produce somewhere in the region of between 50 and 100 stylised poppies, using scrap cable drum ties, they would be painted in the traditional colours found in the poppy family, with the majority being in red. The individual poppies are a total of no more and 50cm in length, this allows for 10-20cm of the stem to be inserted into the ground. This proposal is based off the back of a study of the poppy, which I have been working on, on and off, over the last 6 months, other work on this subject includes a hand painted ceramic tile, drawings and sketches, all of which would be available to display at the prom art space. I would also include some prototype poppies for Artspace using different materials.

The poppies would be arranged in naturalistic groupings, in an area, say along a sunny hedge line or under some small fruit trees, ideally in an area where the grass can grow longer, to produce the look of a meadow. The installation would be called "poppyland", as a reference to the hotels position on the Norfolk coast.

I enjoy visiting Norfolk and had many happy holiday memories of visiting the county over the years. If approved I would be more than happy to hand deliver and install the installation.

Stephanie Douet

Stephanie Douet lives and works in Norfolk. She read Art History at UEA and Fine Art MA at NUA Solo exhibitions include ‘Real/NonReal’ at Modern Art Oxford project space 2012, ‘Why the Long Face’ Outpost Studios Norwich 2015, ‘Born in a Museum’ at the Museum of Legacies, Jaipur 2019 and ‘Splits’ at the Embassy of Croatia, London, 2024. Group exhibitions include ‘Contemporary Chinoiserie’, Saltram House and Lymouth Museum, Plymouth 2012, ‘Friday Late’, V&A 2013, ‘Safe House 2’, Peckham, London 2023, ‘Plymouth Contemporary’, Karst Gallery 2021, ‘Silent Disco’ curated by Graham Crowley, ‘Thinking Through Drawing’, Cromer Artspace 2024. She is currently working on a 2.3m high outdoor wooden sculpture for the Winter Sculpture Park at Thamesmead, London curated by Gallery 32. Douet was also was shortlisted for the Contemporary British Painting Prize in 2019.

I propose to make a lifesize free-standing figure approximately in three seperate sections (head, belly and legs), which move independently when touched. It will be made from heavy varnished cloth over a timber and steel armature, painted in metallic acrylic candy colours and will stand on steel poles that slot directly into the ground.

The work will stand, as per the photo montage attached, in the centre front of the playground. It is designed to be strong, safe and capable of being animated by touch so the seperate parts move slightly. This playful sculpture will add a humourous stgeatrical element to the other lay pueces

I propose to draw and photograph weeds in the gardens of the Grove during spring, and use these as a basis to make a series of large sculptures made from scrap and plasma cut sheet metal. They would be a flamboyant, joyful and rebellious collection that would draw attention to the beauty, resilience and ingenuity of overlooked nature. There would be 3-5 sculptures sited together, taking up an area of approximately 3m x 2m x 2m high.

the forms of the sculptures will be directly drawn from weeds found around site.

See full CV attached.I am a member of the London based artist collective Changeable Beast. We formed last year after attending MASS, Turps Art School sculpture course. We organise several group shows a year; currently part one of a show entitled UBIK is at Sugar House Gallery, Hypha Studios, London E13 2QS. I am exhibiting in part two, which opens 13 February 2025. Upcoming is Fruiting Bodies at Old Parcels Office in Scarborough, April 2025.My work Ramets (2024) is on permanent display at Tremenheere Sculpture Gardens, Penzance, following our exhibition there, Second Nature, August 2024.Made during lockdown 2021 my solo show The Sorting Table, supported by the Arts Council was at The Cut, Halesworth.In 2018 I was commissioned by Sculpture in the City, in Heneage Lane EC3, London to make a site-specific work, Sari Garden, which was exhibited 2018- 2020.In March I will be working with Walnut Works, Suffolk on new bronzes, towards an upcoming show later in the year.

Working title: Pipes ApocalypseMy proposal is for a new work in two parts, constructed from reclaimed hosepipe, supported by steel rods. For part one, ten-foot steel rods will be driven directly into the ground to more than a third of their length forming a sturdy, seven-foot high circular structure, diameter c. 65 cm, onto which hosepipes will be threaded. This will result in an untidy tangle of mixed colours inside the ‘column’. Part two, placed a few meters away will be a low, continuous but sinking, hoop-like, yellow formation resembling a worm or creature rising out of the earth approximately 25 x 275 x 30 cm.

Used hosepipes make a connection with the vibrant garden at The Grove, it’s greenhouses and brimming vegetable beds. East Anglia being the driest part of the UK, hosepipes bring to mind concerns about the necessity and value of clean water, it’s commodification and how we take this resource for granted. But this is a fun piece not an eco-political statement.

Clare Jarrett Image captions1. Ramets, 2024. Porcelain, stoneware and steel. H.200 cm x W.200 cm x D.100 cm approx2. Ramets, 2024. Porcelain, stoneware and steel. H.200 cm x W.200 cm x D.100 cm approx.3. Drain, 2024. Stoneware. H. 15 cm x W. 250 cm x D. 700 cm approx4. Drain, 2024. Stoneware. H. 15 cm x W. 250 cm x D. 700 cm approx5. Studio experiments, 2024, hosepipe, bolts6. Studio experiments, 2024, hosepipe, bolts, wood, steel, fabric7. Drawing for Pipe Apocalypse 2025, column8. Drawing for Pipe Apocalypse 2025, worm

I work from my studio in Wells-next-the-Sea, having moved to North Norfolk from Bristol in 2015. I have a BA Hons in English Language and Literature from the University of Manchester (1982), and a Diploma in Drawing and Applied Arts from the University of the West of England (2011) which I attended as a part-time mature student. My work has been selected for exhibitions at London’s Mall Galleries with the Society of Women Artists and the Royal Society of British Artists, the North Norfolk Exhibition Project in 2017, 2021, 2023 and 2024, the Bayfield Sculpture Trail 2023 and 2024, and in 2022 I was shortlisted for the first Holt Festival, Charlotte Fraser Ceramics & Glass Prize. Until its closure at the end of 2024 I was represented by the Barlow Fine Art Gallery in Holt. Currently I am showing work in the new Thea Hickling Gallery in Wells-next-the-Sea. I also exhibit regularly in Norfolk with the groups Natural Lines (forthcoming exhibition at the Crypt Gallery, Norwich 29 April to 10 May 2025), Common Land and NR23. My work is held in private collections in the UK and abroad.Since moving to Norfolk in 2015 after decades of living and working in cities across the UK, my practice has focussed almost entirely on the natural world, exploring the patterns, rhythms and movements embedded in nature, focussing on small, almost unperceived elements and structures of everyday objects and creatures. By narrowing in on and enlarging individual details – the beauty in the twists and turns of dried plant material, the deep hollows and spirals of shells, the geometric perfection of a wasp’s nest - I have hoped to draw attention to the incredible complexity and beauty inherent in the tiniest of fragments to be found all around us. In my most recent work I have tried to highlight the plight of the natural world as it faces the increasing and very real threats posed as a result of man’s impact on the earth.

My usual medium is clay, but in more recent work I have been experimenting with wire and thread to try and articulate in abstract form the flight of birds, in particular the Common Swift. Last year I produced two series of wire pieces for a group exhibition at Salthouse Church (Common Land: Belonging) held in September. These were 'Swift Flight I to III' (aluminium wire and invisible thread), and 'Riding the Thermal I to III' (aluminium wire and silk thread). For Sculpture@theGrove I would like to continue this exploration to make some new wire works, again inspired by flight patterns of the Common Swift, but on a bigger scale and designing the pieces to be suspended rather than placed on a plinth as previously. Why swifts? Partly because of the infinite complexity of their aerial acrobatics; partly because the exhibition will coincide with the time when swifts are tearing round our skies at breakneck speed; but also to highlight their status as globally threatened - they are on the Red List of species with conservation concern, declining by 62% between 1995 and 2021.

The works would be made from aluminium wire of varying thicknesses, spun in places with invisible (or other durable) thread, and designed to be suspended from a tree or trees within the Grove grounds, weighted as appropriate. They would vary in size, up to around a metre in length. The aim is to create works that capture shifts in light and air movement, and which suggest the incredible magic and mystery of swifts on the wing.

It is an abstract sculpture from a piece of Ancaster weatherbed limestone about 70cm high, 40cm wide and 20cm deep. The form is a series of undulating curved surfaces, biomorphic in nature, pierced in places, vaguely resembling seaweed (bladderrack, perhaps) but in no way attempting to be an accurate representation of it. It will sit on top pf an oak plinth, itself capped with slate to preserve it from the rain.

The sculpture will sit on the large grassy area, on the left hand side as you look with the hotel behind you. The light brown streaked hues of the polished stone surfaces, rounded, and undulating will contrast beautifully with the backdrop of green foliage. Its resemblance to seaweed relates it to this seaside location. Its effect will be calming and contemplative. It highlights the value of nature in our world, and the importance of taking time to consider our relationship with it.

Thank you for your consideration.Best wishes, Dom Cooper

National Trust -Blickling Hall Museum of Norwich, Bridewell - Light from the DarkMuseum of Norwich, Strangers Hall - MiscellaneaCley Contemporary, Norfolk Cromer Artspace -Thin PlacesBayfield Hall, NorfolkAnteros Gallery Norwich

My proposal is to show a pair of glass feet ( the underside of the foot).

I have developed my practice through walking, repeating the same walks in places I have become familiar with and feel a sense of intimacy. Distilling the experience has given me the understanding of who I am ,and an interdependence with the natural world, my thoughts have a symbiotic relationship with my footsteps. I draw parallels between erosion and climate change and the fragility of life, whilst considering their relationship to each other. I was born in West Runton, and walk the Norfolk coastline most days , so showing in Cromer is my reason for applying.

if you need anything further, please let me know, warmest wishes Jen

2024 Bayfield Sculpture Trail. Bayfield Estate, Norfolk.2024 A Shared Return, Don Soker Contemporary Art, San Francisco.2024 Taking Time, The Cut, Halesworth, Suffolk.2024 Creating Spaces, Miserden.2024 Himalayan Park and Sculpture Gardens2023 Small Works, Strata Gallery, Santa Fee, NM.2023 Bayfield Sculpture Trail, Bayfield Estate, Norfolk.2023 Henley Art in the Garden, Henley Art Trail, Henley.2023 Happisburgh Sculpture Trail, Happisburgh, Norfolk.2023 Dualism, Don Soker Contemporary Art, San Francisco.

I have made sculptures based on sky chart series in the past but intend to make three new sculptures which are different in scale and explore new colouration. My proposal is to make three compressed oval and round-shaped sculptures of various sizes, each with attached cast discs which portray the star charts of the exhibition’s date: July 2025. The approximate sizes will be 50 x 50 x 25 cm.The sculptures will be constructed from polished terrazzo which is weatherproof. They will be sited directly on a grass surface and positioned to attract attention by those passing by.

I visualise the three sculptures arranged on grass. They will relate to the place / site being based upon the star charts of the specific time and place of the exhibition. The sculptures explore the idea of representations of sky being placed on earth and on the earth. The sculptures will encourage viewers to look up and reflect on the night sky above them, and notice that Norfolk in general has very little light pollution making stars and planets particularly evident.During my recent visit to The Grove Hotel I spent time looking at the exterior space. Exploring the grounds, I saw the polytunnel, greenhouse, fruit cage and the raised beds. It was apparent that there are events held in the gardens at the Grove so that artwork would be seen, not just by residents and those visiting the hotel, but also by visitors to the yurts, those attending weddings and those staying in the exterior buildings attached to the hotel.It struck me that the grass location between the car park and the reception would be an excellent place to site my work. I envisage those arriving at The Grove, and those returning from rural walks in the Norfolk countryside would pass by the sculptures and would pause to contemplate the significance of the star charts and the night sky to the landscape, to the nature they have walked through and observed, and to the garden itself.

My proposal is to celebrate the Cromer Crab with references to seafront arcade games and beach toys, by creating a stylised pixelated version contained within measurements of approx 70cm height, 70cm width, 12cm depth. Within the external dimensions, it will consist of a series of cast concrete tiles, 10cm x 10cm x 5cm fitted back to back to form 10cm x 10cm x 10cm blocks, most tiles will depict one of several different pixelated crab designs in 1cm protruding relief, with recessed relief along the external edges, or a mix of both all over. Some may be spray painted red to emphasise what they are, and some tiles will remain blank, referencing seafront arcade games such as space invaders in which gaps appear as the game progresses, although the intent is to make the sculpture fun and light hearted so I will omit depicting explosions and bullets. The overall crab form can be seen as standing defiant in the face of human threats, being a protectorate of the numerous crabs it is carrying, whether they are its young or symbols of adults. Other options besides a large crab as the outline shape include arranging the tiles in a simple upright rectangular slab representing a sea wall with crabs climbing up and over, or, a more abstract, random outline form within which the crabs are breaking out in all directions as if hatching from the ground. The whole sculpture for each option may be skewed to create a more comic book dynamic, although with no repetition of tile shapes this will be take more time to make, less so if the tiles are fewer and larger. Another practical consideration means the sculpture will be made in sections then fitted together on site. The sculpture can be fixed straight into soil or onto a raised surface like wooden sleepers. As it will be a sculpture ‘in the round’, access to front and back will be preferable for a location, such as the open field area. Separate tiles could be displayed on shelves within the hotel.Working titles include Crab Invaders, Super Crab and Hatch.

My proposal is site specific to Cromer through celebrating the Cromer Crab with references to seafront arcade games and beach toys, by creating a large stylised pixelated version, consisting of tiles depicting smaller versions. The crab can be seen as standing defiant in the face of human threats; caught for leisure and eaten as a food delicacy, the sculpture represents a protectorate of the numerous crabs it carries, whether they are its young or symbols of adults.

Francesca Cant

Uploaded Below.

Proposal for Cromer Artspace: Sculpture at the Grove 2025 My proposed sculpture will take inspiration from Cromer Pier and the Sea defences that protect our coastlines; where nature and structure meet. Through creating this sculpture I hope to explore the push and pull of humans desire for progress and the need to protect the place that houses us. The sculpture will take the form of a modular structure constructed out of sheet metal. Each component will have geometric shapes cut out from the surface mirroring the metalwork found along the coastline. Underneath the structure I intend to plant a climbing plant that will grow around and in the sculpture throughout the exhibition. Showing how nature and human structures interact with one another. The sculpture will also be left to rust, exploring nature's impact.

My proposed sculpture will take inspiration from Cromer Pier and the Sea defences that protect our coastlines; where nature and structure meet. Underneath the structure I intend to plant a climbing plant that will grow around and in the sculpture throughout the exhibition. The Grove would be an ideal setting because of the beautiful gardens it has. It's geographical connections to the beach is also why I believe the sculpture would fit with the site.

Thank you for the opportunity to submit.

Wall hung, painted, outdoor aluminium swinging sign (like a British pub sign) in the shape of Evelyn Baring’s silhouette. One side will be inscribed with a translation of a poem (a zajal, a traditional form of oral poetry popular in the Arabic world), written shortly after the 1st Earl of Cromer resigned from his position. On the other side will be the inscription from the 1st Earl of Cromer’s memorial in Westminster Abbey. The work should be hung approx 1.8m from ground on front or side of hotel building.

The work addresses the conflict between Evelyn Baring, 1st Earl of Cromer’s perception of his legacy and the experience of Egyptian citizens then and now. It considers the reparative potential of artistic strategies to confront colonial history and present alternative narratives.

Thank you for your consideration!

Rebecca Amphlett

My name is Rebecca Amphlett mosaic artist from North Norfolk, I have cultivated my craft through self-teaching and a natural inclination for creativity. My passion for the medium has led me to specialise in crafting decorative garden stepping stones. I particularly enjoy exploring the interplay between iridescent coloured glass and light. I’ve ran creative workshops with the craft helping people young and old learn the possibilities with mosaic I have been fortunate enough to have been given the opportunity to create some huge pieces. Theses include: Arcadia and the Breakasurus - GoGo Discover Norwich Arcadia Was Auctioned in September 2022 and raised £10,000 for Break while the Breakasurus made £6,000 from raffle ticket sales. Day to Night Mural at Pensthorpes Nature Reserve Visitors to the reserve can enjoy this piece in the Glade Sculpture Garden where it is surrounded by an array of other fabulous sculptures. The Fifth Element The Fifth Element has been part of the Bayfield Hall in North Norfolk sculpture Trail in 2023 & 2024 Savannahs Golden Guardian & Kaleidoscope - Standing Tall - Cambridge Savannah and Kaleidoscope were sold at Auction and reaided vital funds for Break the Charity

A unique mosaic globe depicting Iapetus, one of Saturn's most enigmatic moons. Iapetus is renowned for its dramatic two-tone appearance, with one hemisphere covered in dark, reddish material while the other remains bright and icy. This stark contrast makes Iapetus a visually striking and scientifically intriguing celestial body. The mosaic globe will be made of materials, such as iridescent coloured glass and ceramic to capture the contrasting hues of Iapetus's surface. The mosaic globe will hang from on a custom-built stand, allowing for 360-degree viewing. Solar spots lights will be positioned around the piece to give the sculpture the wow factor in the evening. Accompanying the sculpture will be a brief explanatory text panel, highlighting Iapetus's unique characteristics and the scientific mysteries surrounding its formation and evolution.

By strategically placing the "Iapetus" mosaic globe within The Grove's grounds, the hotel can enhance its aesthetic appeal, provide a unique cultural experience for guests, and contribute to a deeper appreciation of the wonders of the cosmos. The mosaic globe's intricate design and vibrant colours can create a striking contrast against the hotel's architecture, adding a contemporary touch to the traditional setting. Carefully placed lighting can illuminate the globe after dark, and bounce a spectrum of colour all around it transforming it into a mesmerising piece that draws attention and sparks conversation among guests.