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Guided tour

Free exhibition tours: SUNLIGHT: Roger Ackling

14:30–15:00

Henry Moore Institute, Leeds

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Part of SUNLIGHT: Roger Ackling
Two visitors looking at the work of Roger Ackling.

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A white gallery space with a high ceiling, showing many of Roger Ackling's works.
Two rectangular pieces of driftwood with chipped pale pink paint in the background and a sequence of four circles burnt vertically into the each piece of wood
A wedge-shaped piece of wood with horizontal lines burned into it. There is a circle of negative space in the centre, where no lines have been burned.
A white-walled gallery space, with frames mounted on the walls and display cases filled with tools, notes and photos.
Seven small wooden objects, arranged in a line on a shelf. They have all been 'decorated' with different patterns of black lines, burnt by the sun using a magnifying glass.
A large red rectangle painted on a white wall, with four wooden works by Roger Ackling hung as though they are resting on it.
Wooden works by Roger Ackling hung in a white-walled gallery space.
A square piece of dark wood with white drawing pins. A black line connects the pins in a zig-zag fashion. It has been burned into the wood using a magnifying glass and the sun.
A grey-and-yellow-painted piece of wood, with a white rectangle on top, on which are several white pins with rubber bands stretched between them.
A white gallery space showing many works by Roger Ackling.
A wooden hammer resting on top of a wooden crate. Both have been striped with burned, horizontal lines, made using a magnifying glass and the sun.
A wooded crate, leaning against a white gallery wall. It has been marked with horizontal stripes, burned into the wood using a magnifying glass and the sun.
Fourteen everyday wooden objects, including a plug, chip fork, lolly stick, and a peg, are arranged in a line on a wall. They have all been 'decorated' with different patterns of black lines, burnt by the sun using a magnifying glass.
Two visitors looking at the work of Roger Ackling.

Join us for a 30 minute introduction to SUNLIGHT: Roger Ackling, led by our friendly Information Assistants.

Roger Ackling (1947-2014) consistently made objects by burning wood – focusing sunlight through the lens of a hand-held magnifying glass to scorch repeated patterns of lines on the surface.

Collecting driftwood from the beach at Weybourne near his home on the Norfolk coastline, as well as reclaimed broken and discarded materials, Ackling took little from the world to make his work and left nothing beyond a wisp of smoke in the air.

This exhibition reveals the breadth of Ackling’s practice, from his earliest experiments with a lens, to his final works.

When and where

Tours take place every Saturday and Sunday, 14:30–15:00, from 12 April to 22 June.

They’re free and there’s no need to book, just drop in and join our tour guide at the welcome desk.

Accessibility

We want to make it as easy as possible for all to attend, so please get in touch if you have any access needs that you would like to discuss before the workshop.

Accessibility

Step-free access

Our accessible entrance is on Cookridge Street, with a lift (doors 100cm wide) bringing you onto the ground floor of the building.

The Sculpture Galleries are located on the ground floor, with a smooth, level floor.

Toilets

We have three gender-neutral superloos (self-contained cubicles with a toilet and sink) on the basement level, accessible by lift.

Additionally, we have one gender-neutral, accessible superloo, and one superloo with baby changing facilities.

Induction loops

There is a portable induction loop available for visitors to use in the galleries (please ask at the welcome desk).

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Book your free ticket

Henry Moore Institute, Leeds

Getting here

Henry Moore Institute

74 The Headrow
Leeds
LS1 3AH
United Kingdom

T:  01132 467 467
E:  institute@henry-moore.org

Directions Accessibility

Plan your visit to the Henry Moore Institute
A three-story building with a black granite facade and steps leading up. Vinyl lettering on the building reads: Beyond the Visual.