Mary Waltham introduces her and fellow artist Jackie Amies’ joint exhibition on their local ancient woodland. Their art invites our curiosity about these rare, ecologically rich areas, which have been largely untouched by human activity since before 1600.
2,150 words: estimated reading time = 8.5 minutes
I can never remember a time in my life when I did not prefer to be outside rather than inside. Growing up on a farm, in a small village in Dorset, the open spaces outdoors in all seasons were my habitat — woods, fields, streams, and ponds. In the past there was much greater human involvement and familiarity with the natural world and I have been fortunate to experience that when young and now, in later life. It enlarges my sense of the world and gives me simple joy. Living now in Selborne, Hampshire and spending large chunks of time walking means that inevitably I am drawn to ancient woodland. Our cottage is 200 yards as the crow flies from Selborne Hanger, an iconic East Hampshire ancient woodland.
Context: Where is Selborne Hanger?Excerpts from Selborne Local Landscape Character Assessment (2014) are included here to clarify the position of the site. “Selborne Hanger lies above the village of Selborne in Hampshire. At its apex the Hanger is one of the highest points in Hampshire, 211 metres (692 ft) above sea level. In the image, contour lines are at 10m intervals. The summit and steep escarpment are covered by woods, dropping abruptly to the fields above Selborne. "The name Hanger comes from the Old English word Hang’r, meaning a steeply wooded slope. "From any direction, it is Selborne Hanger that commands first attention; the village being hidden from view, nestling some 85 metres below the ridge of the Chalk Scarp. "The village and its Hanger are synonymous. When inside the village, the Hanger always feels present.”1
Gilbert White described this place in 1789:
“The soils of this district are almost as various and diversified as the views and aspects. The high part to the south-west consists of a vast hill of chalk, rising three hundred feet above the village; and is divided into a sheep down, the high wood, and a long hanging wood called the Hanger. The covert of this eminence is altogether beech, the most lovely of all forest trees, whether we consider its smooth rind or bark, its glossy foliage, or graceful pendulous boughs. The down, or sheep-walk, is a pleasing park-like spot, of about one mile by half that space, jutting out on the verge of the hill-country, where it begins to break down into the plains, and commanding a very engaging view, being an assemblage of hill, dale, wood-lands, heath, and water.”
— Gilbert White, The Natural History of Selborne (1789)2
In hindsight, I was slow to engage fully and in depth with the significance of ancient woodland that Selborne Hanger and several surrounding areas exuberantly typify. So often when working in London at a demanding role as an executive in fast-paced magazine publishing, I would walk into the Hanger for a break from analysis. Yet always there was this sense of place, including curiosity about all the species that had gone before me. Who were they, what were they doing in the wood and on the Common, and would they recognise it now? I believe so.
“The experience of place and the significance of a sense of place, has never seemed to me simply a matter of sentiment or feeling, but to be something much deeper and more profound.”
— Jeff Malpas, Heidegger and the Thinking of Place (2017)3
In recent years as my art practice developed, I met Jackie Amies, another local artist and keen walker who came to an Open Studio I hosted. In the summer of 2024 we began a conversation about making work for a joint exhibition, and we started to cast around for themes that we could both respond to with enthusiasm.
The result was our exhibition Ancient Woodland: A Celebration of Place at the Allen Gallery in Alton, Hampshire. While each of our art practices continues to develop in appreciation of and response to a variety of habitats close at hand in Hampshire, downlands, wetlands, rivers and chalk streams, for example, why did we choose ancient woodland for this, our first exhibition together?


Ancient woodland — rich fragments of beauty
Despite best efforts to support and encourage these woodlands to thrive, they are consistently under pressure for development and, of course, from continuing assaults by a range of rapidly evolving tree diseases — such as ash dieback — that are further enabled by a warmer climate year-round. We set out to explore and raise awareness of the many dimensions of beauty of ancient woodland from our own perspectives.
Natural England has an inventory of all 52,000 ancient woodland sites across the UK as an online map.4 Looking at the whole map it is clear that many, even most, of the sites are small, fragmented pockets.
And yet, according to the Woodland Trust, “Ancient woods are our richest and most complex terrestrial habitat in the UK and they are home to more threatened species than any other. Centuries of undisturbed soils and accumulated decaying wood have created the perfect place for communities of fungi and invertebrates and specialist species of insects, birds and mammals.”5
What is ‘ancient woodland’? It is distinctive and often small tracts of woodland that have been largely untouched by humans since before 1600, and now cover just 2.5% of the UK.
Ancient woods are therefore also a continuing record of centuries of interaction and interdependence between man and woodland, often containing remnants of archaeological features such as wood banks, pits and charcoal kilns.
Ancient woodland is an immensely rich and complex area for exploration scientifically, culturally and artistically. Both Jackie and I feel as though we have only just begun!
Our exhibition invites visitors to the Allen Gallery to be curious about these rare and special areas we are fortunate enough to have access to.
We have used traditional media of paint, fine-art printmaking and photography, but with a twist. Paintings made with soil, and new ways to discover trees are among the interpretations. A gentle woodland soundscape accompanies visitors; we wanted people to have an immersive experience once in the gallery.
A sense of place in art
Jackie is exhibiting fine art prints that focus on trees. How many of us can identify trees from their leaves or bark? A series of twelve monoprints of ancient woodland tree leaves entitled ‘Foliate’ refreshes that lost skill.

As does ‘Barking’, a series of tree bark etchings over a coloured lino print. The printed backgrounds are an interpretation of the colours found either in the bark, within the wood or the changing leaf colours.

The mystery of ancient woodland is evoked by the series ‘Rooted’, twelve unique monotypes inspired by a year of walking at Ashford Hanger. Each piece draws the viewer into the steep chalk slopes of the East Hampshire Hangers to gnarled wood, undercut roots and animal paths heading off between majestic mature tree trunks; a world rich in an abundance of life.

Painting is my primary medium for this exhibition. I have been working with soil as a paint for the six pieces in the series ‘Ground’, using earth and ash as pigment. The pieces reveal and elevate the aesthetic qualities of ancient woodland soil through their intense colours and textures. As alternative portraits of place, the six Selborne Hanger soil paintings allow the site to speak for itself. They directly reflect the history, the climate and the variety of soils that cover the Hanger.

“... the soil of any one place makes its own peculiar and inevitable sense. It is impossible to contemplate the life of the soil for very long without seeing it as analogous to the life of the spirit.” (Berry, 1977)6 “Soil, like fossil fuels took eons to develop and it too cannot be replaced…By giving soil its own agency it is elevated to an aesthetic form.” (Waltham, 2022a)7

Soil affects everything that grows in and on it and these woodlands are home to communities of plants that thrive here where the earth is undisturbed and rich in decaying matter. Varied ground flora is a striking feature of ancient woodlands, distinguishing them from recently established woods and plantations. Many of the so-called indicator species of plants in ancient woodland flower in Spring before deciduous trees are leafed out. I am showing eight paintings of such spring flowers using watercolour layers for the series ‘Flos sylva’.

My series of small watercolour paintings mounted on cradled birch panel reflects abstract fleeting views experienced while walking the Hangers Way, a long-distance route that runs south from Alton to join the South Downs Way.8 This footpath is a good way to encounter ancient woodland, to absorb a sense of the many who have passed here before us, the sound of many species, and if you are fortunate the melody of place. Witnesses all.

Celebrating the local
To help orientate visitors, in the gallery we have a large-scale map of the patches of local ancient woodland we each have frequently visited and worked from, notably Selborne (top of map) and Ashford Hanger bottom).

Just outside the gallery, in the small garden, is an installation of a piece of mossy rotting wood with leaf litter. A reference to Neukom Vivarium (2006) from Mark Dion, who says of his work: “So, this isn’t really about the tree, even though the tree is the superstar. It’s really about what’s happening to the tree, about the process of decay…. the wonder of the vast complexity and diversity within a natural system”.9
The log is positioned at just the right height for a 7-year-old to look closely and spot all the life teeming on the log through the richness of decay.
A small café at Allen Gallery is the setting for ‘A Celebration of Place’, a series of forty vibrant photographs taken on-site by the artists. These are exquisite reminders of place and a further invitation to find and visit ancient woodland, and to really look.

Our work on ancient woodland is anchored and guided by generous expert advice from two lifelong landscape professionals who have worked extensively in stewardship and management roles in these woodlands. Chris Webb and David Ball have been in on this exploration of place by me and Jackie from the beginning, providing both of us with essential knowledge, their experience, and facts that have enabled us to feel confident about the truths we present. Any errors of interpretation are entirely our own.
We hope that one outcome from our show is increased understanding of the importance of rare and special ancient woodland.
Responses from visitors have been positive and encouraging – always a plus:
“What an inspiring celebration of place. I have learnt to look at a familiar landscape in an entirely new way”
“A beautiful exhibition to stumble upon. A highlight of my trip to this gorgeous county”
“We loved the birch panel artwork and the moody monoprints. We also enjoyed hearing the birdsong in the gallery as we enjoyed the art. Thank you.”
“Love the birdsong! Inspiring works – love the way the soils are ageing, and the ‘Hangers Way’ watercolour works are enchanting. Thank you.”
Mary’s references:
- Selborne Local Landscape Character Assessment (2014)
- Gilbert White (1789) The Natural History of Selborne (2006 Penguin Classics edition, edited by Richard Mabey.)
- Jeff Malpas (2017) Heidegger and the Thinking of Place: Explorations in the Topology of Being (The MIT Press).
- Natural England, Ancient Woodland (England) online map.
- Woodland Trust, ancient woodland as one of the many woodland and related habitats across the UK.
- Wendell Berry (1977) The Unsettling of America: Culture and Agriculture (Counterpoint).
- Mary Waltham (2022a) Case Study: Daro Montag and This Earth. Unpublished.
- The Hangers Way, Hampshire.
- In this Art 21 interview, “Neukom Vivarium”, Mark Dion discusses his 2006 installation.
Find more
Mary and Jackie’s exhibition Ancient Woodland: A Celebration of Place is on view at the Allen Gallery in Alton, Hampshire until 20th September 2025. There is a free event, Why Ancient Woodland? In Conversation with the Artists, on Saturday 13th September (limited spaces: booking essential).
Excerpts from Selborne Local Landscape Character Assessment (2014) are included here to clarify the position of the site.































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