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The Sculpture
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Tyrebagger Circle is set back to the right of the path in an area of informal and dense woodland. The trees here are of different ages, some planted and others self seeded; a mixture of Douglas fir, birch, larch and sitka spruce.
The sculpture is screened by the trees and remains hidden until you are opposite the entrance. The site offered Gavin a quiet and contemplative place, away from the traffic noise audible at the forest’s edge. He felt the rustling of wind in the trees was almost like water.
The work consists of three concentric wooden fences each progressively higher and denser towards the centre. The inner fence, five metres in diameter, is above head-height and frames a circular view of the treetops above.
Gavin likens the exploration of his work to a kind of procession. You enter through a gateway, travel round to the far side of the structure where a wooden walkway leads across the middle space, through a narrow opening and into the decked inner circle. The ultimate progression is upwards as your gaze is drawn towards the sky. The slit-like entrance to the inner space contributes to the feeling of privacy and three simple benches invite contemplation of nature.
The construction would have been a huge undertaking for Gavin himself, so the work was carried out by craftsmen from Forest Enterprise. Gavin found himself working rather like an architect, producing fourteen very detailed sheets of designs on computer
Gavin had the idea for Tyrebagger Circle before he visited the site. In the past he had spent time walking in the north of Scotland and was struck by the experience of discovering a house in a clearing deep within a forest. The idea of the circle developed from earlier gallery pieces as well as from his interest in Greek theatres. In 1996 he exhibited two works where chair-like forms were joined by large wooden circles. The circular spaces suggested rooms and the seats, a human presence.
The arrangement and detailing of the wooden fences was influenced by Japanese frame-built architecture. The shrine-like gateway furthers the sculpture’s ceremonial associations.
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