Who painted Willow Ladder II. Grizedale 1979?

Willow Ladder II. Grizedale 1979 was painted by David Nash in 1980.

Where can I see Willow Ladder II. Grizedale 1979?

Willow Ladder II. Grizedale 1979 is held by Victoria and Albert Museum.

Willow Ladder II. Grizedale 1979 by David Nash (1980)

About this work

Overview

Created in 1979, Willow Ladder II is a detailed drawing documenting David Nash’s planned living sculpture in Grizedale Forest.

Created in 1979, Willow Ladder II is a detailed drawing documenting David Nash’s planned living sculpture in Grizedale Forest. Made during his artist-in-residence period in 1978, it functions as a technical blueprint rather than a finished artwork. The sheet contains five annotated sketches outlining the gradual shaping of willow trees through grafting, with timelines and procedural notes written directly onto the paper.

Subject & Meaning

The drawing presents five evolving forms of a tree sculpture, each stage representing a phase in the slow growth of living willow branches. Nash’s intent was to cultivate an organic structure over years, blurring boundaries between art and nature. The work reflects a patient, ecological approach to sculpture, where time and growth become integral to the artistic process rather than obstacles to it.

Technique & Style

Nash employed pencil and ink on paper to render precise, schematic diagrams of tree grafts, annotated with handwritten instructions and dates. The style is utilitarian, resembling horticultural plans or botanical records. Lines are clear and unembellished, prioritizing functionality over aesthetics.

The integration of text and image transforms the drawing into a hybrid document, part instruction, part artistic proposal.

History & Provenance

The drawing originated from Nash’s 1978 residency at Grizedale Forest, where he explored living materials as sculptural media. It was produced as a record of an unrealized project, though related works were later cultivated in the forest. The piece entered the Victoria and Albert Museum’s collection as part of its documentation of land art and process-based practices from the late 20th century.

Context

In the late 1970s, Nash was part of a broader movement redefining sculpture beyond static materials. Artists in Britain and beyond were experimenting with natural growth, environmental change, and site-specific interventions. Willow Ladder II aligns with this shift, emphasizing duration and ecological systems over permanence or monumentality, challenging conventional notions of artistic output.

Legacy

The drawing remains a key example of how art can engage with biological processes over extended timeframes. It influenced later artists working with living materials and ecological timelines. Its preservation as a document underscores the value of process in contemporary art, offering insight into how ideas of growth, patience, and collaboration with nature can shape creative practice.