Charcoal

Tuesday

Simon Ings

Seeing the trees for the wood

You’re up an oak tree somewhere between Ashtead and Epsom in Surrey. Wet lichens glow as you hunt for a footing on slick limbs. From the top of the canopy, the land turns to sea and glades appear as ‘oceans between continents of trees’. A ghostly armada of dead oaks lies becalmed in a clearing – a bleached collection of hulks left from a fire that happened decades ago. Like the titular character of Dr Seuss’s The Lorax, Luke Barley speaks for the trees, and his ambition is to make armchair woodlanders of us all. Ancient is his history of British woodlands – which turn out to be a lot

Tuesday

Laura Gascoigne

The ghostly charcoals of Frank Auerbach

‘In some curious way, the practice of art and the awareness of the imminence of death are connected,’ Frank Auerbach said in 2012. ‘Otherwise, we would not find it necessary to do the work art finally does – to pin something down and take it out of time.’ There’s no sense of the imminence of death in Auerbach’s postwar landscapes of London building sites stirring with new life, but there is in his contemporary charcoal portraits, as scarred and sooty as the Blitzed city in which they were made. Auerbach started making large charcoal drawings from life as a student in David Bomberg’s evening classes at Borough Polytechnic, and carried