Roger Ackling

Roger Ackling creates his intimate and beautiful wooden sculptures with the meticulous use of a magnifying glass. By projecting sunlight through the glass he burns lines of tiny dots onto the woodÕs surface to form geometric patterns. The wood that he uses is found on coastal walks - not only drift wood, but remnants of previous objects now obsolete, unidentifiable or broken - weathered by time and the elements and often including rusted nails, holes, stains or daubs of earlier paintwork. Ackling's work poses questions about the relationship between nature and humanity and yet, up until now, they have been formed without the direct contact of the artist's hand - their production is remote but their alteration by the artist gives them a specific and serene individuality.
Roger Ackling has been exhibiting since 1967 and has had many one-person exhibitions in London, Europe, Asia and America. He has exhibited with Annely Juda Fine Art since 1987 and is represented in important public collections worldwide including The British Museum, The Victoria and Albert Museum, The Tate Gallery and The Stedelijk Museum, Amsterdam.

From Annely Juda Fine Art

Sunlight on Wood

Roger Ackling works with discarded materials: recycled card from the backs of writing pads; fragments of wood which have been thrown away or lost. He finds his wood on the margins, the places where things meet: the messy marriage of town and country; river banks and sluices; flood plains; the spill-over at the back of the beach. Skips and dumps. Places for things we have given up on. Most of his materials come from the beach. They get washed in as flotsam and jetsam and end up at his door.

The pieces which he chooses have always had some previous use. Wood which was shaped into an object by some unknown joiner, put to use and then tossed aside. By the time Ackling finds them, among the tide-wrack and the flies, the original artefact - chair or ladder or box - will have fallen apart at the seams, and lain out long enough for its elements to be chamfered smooth by the sea and the sand and to be bleached by the wind a nd the salt. What they were once is anybody's guess; they have become abstract.

Roger Ackling makes his work out of doors. He draws by focusing the sun's rays through a small magnifying glass and burning lines on the surface of a small piece of wood or card. He works from left to right across the surface of the piece with the sun always at his shoulder. The lines are photographic in its truest sense. Each mark or dot is a small black sun. Each line is a repeat pattern of burnt sun images, scaled down many million times. Images of the sun, that is, minus any object which intervenes between the glass in his hand and the sun one hundred and fifty million kilometres away; when a bird passes overhead, its shadow is captured within the burnt sunspot. An outline blocking out the light may be as small as a bird or as large as a cloud, but its presence registers. Each dot records the history of the sun's ray on it's journey to the earth.

The work on wood consist of bands of horizontal lines placed to respond to occurances on the surface of the piece; holes; knots or blemishes; nails and stains; the last scabs of paint. The lines are drawn more closely than on the card pieces, and take the form of blocks or diamonds, which pay careful attention to the edges of the wood and its topography.

Sylvia Ackling, Weybourne 1996 (Extract, with revisions, from Roger Ackling 'Black Sun', 1997)

Weybourne Sculptures

From the distance of the gallery entrance, the first impression is of a few bits of old furniture wood picked up at random on a demolition site and stuck onto the long white wall roughly at eye level. From closer up, the bits of wood suggest a different origin: their colour has softened or bleached and the nails and fragments of metal fixtures are rusted through long exposure to the elements.

But, strangely, they all show the residue of a pattern of a darker rectangle that covers most of their visible surface, leaving only a few narrow strips or small rectangles of lighter, natural wood. This pattern is evidence that the pieces may have once all fitted together and formed a functional or decorative unit of some kind. Inspection shows, however that the darker areas are made up of dozens of closely-spaced horizontal lines burnt into the surface, as if the wood had been placed on a hot grill after it was found. But the lines are too soft, too natural for such a mechanical process, recalling rather graphical shading executed with charcoal and a ruler. The conclusion is clear: the lines are the work of the artist.

Now each piece can be read as a minimalist geometric drawing executed on a found object. But that turns out to be simplistic, for there is an exquisite interplay between features of the object and the artist's intervention. The areas of shading tend to divide the total surface into halves or quarters, thus picking out the lines of symmetry of the object, while a knot or a nail or some other accidental presence may define its own rectangular space blocking the progress of the shading. And such a rectangle sometimes, but only sometimes, map to an image of itself by reflection, or rotation of the object.

A single rusty nail head barely protruding from the wood's surface, a minuscule fleck of paint, a broken hinge: such are the actors in these subtle compositional statements. This adds a continuity of content to the evident stylistic unity of the drawing. Indeed, the sense of continuity from one piece to the next is so strong that for a moment the suspicion is entertained that some of the nails and other remnants were actually placed or modified by the artist. Inspection shows that this cannot be the case; and reflection suggests that the artist's original choice of pieces to act as a support for the drawing was as important as the drawing itself.

Once clarified, the material and formal basis of the work is forgotten and one is left with the intimate, iconic character of each piece. Their small size and fleeting existence as objects is underscored by the artist's minimalist intervention; and, at the same time, denied by that intervention's delicate, painstaking and aesthetic quality. Simplicity, purity, piety: these are the kinds of adjective that fit well with an emotional response that long outlasts the intellectual puzzle. And it is not perturbed by learning the external history of the show. The wood is all driftwood, picked up on the long shingle beach at Weybourne, a village on the North Norfolk coast of England. The drawing was done by holding the piece in one hand and using the other to focus the sun's rays through a lens, a technique that requires enormous patience and concentration. the imaginative participation of the viewer in each piece thus goes beyond its visible presence to encompass the whole process of creation.

Several of the key ideas in contemporary art are reflected in Ackling's work. The long solitary walks taken to find the original material; the balance between chance, choice and invention; the intense demands of the drawing executed in a mental and physical state close to meditation; the rigourous minimalism of the artist's intervention: all these aspects of the work fix it is as part of a larger artistic culture, without reducing its originality and autonomy. At a more abstract, almost philosophical level, it is natural to think of Ackling's pieces in the context of the many boundaries and limits that have inspired and defined so much of the best modern art.

the drift wood thrown up by a winter storm onto a shingle beach in Norfolk lay on the boundary between land and sea, between the landscape that man owns and controls and the seascape that he does not. The wood itself is a natural product that was once transformed by man into useful objects such as boxes, cupboards and other furniture.

As waste from our culture it became part of the boundary between us and nature. But this waste was not buried or incinerated: it found its way into the sea where water, salt and sun did their work. then it was pushed back onto the beach, transformed from a piece of rubbish into an object of beauty. By using the sun as a tool, Ackling pushes to the limit the artist's desire not just to participate in, but to become one with this natural process of transformation. But the drawing itself, in its formal elegance, sharply defined the final objects as a product of the human mind. Moreover these are very special products. Not only are they works of art exhibited in a gallery, but they are the kind of art that pushes back the limit of what is art and what is not. And that involves the boundaries proper to art itself, which Ackling's work also questions and explores: these objects lie across the limits between painting, drawing and sculpture.

Philip Swann, Geneva 1992 (Written in response to Ackling's museum exhibition at the Centre d'Art Contemporain, Geneva)


Born 1947 in Isleworth, London.
Lived and worked in Norfolk, England.
Passad away 2014.


St Martin's School of Art, London

Selected Solo Exhibitions

  1. 1976
    1. L.C.F. Gallery, London
    2. Lisson Gallery, London
    3. Lisson Gallery, London
  2. 1977
    1. Lisson Gallery, London
  3. 1978
    1. Marina Urbach, New York
    2. Gillespie-Laage, Paris
    3. Graeme Murray, Edinburgh
  4. 1979
    1. Graeme Murray, Edinburgh
    2. Lisson Gallery, London
    3. Gillespie-Laage, Paris
    4. Marina Urbach, New York
  5. 1980
    1. Front Room, London
  6. 1981
    1. Lisson Gallery, London
    2. Coracle Press, London
    3. Front Room, London
    4. Gillespie-Laage-Salomon, Paris
    5. Galerie Loyse Oppenheim, Nyon
  7. 1982
    1. Francoise Lambert, Milan
  8. 1983
    1. Coracle Press, London
    2. Amano Gallery, Osaka
    3. RYO Gallery, Kyoto
    4. Kumo Gallery, Tokyo
    5. Coracle Press, London
  9. 1984
    1. Gillespie-Laage-Salomon, Paris
    2. Lisson Gallery, London
    3. Amano Gallery, Osaka
    4. Kumo Gallery, Tokyo
    5. Francoise Lambert, Milan
    6. Bradbury and Birch Fine Art, London
  10. 1985
    1. Amano Gallery, Osaka
    2. White Art Gallery, Tokyo
    3. Concept Space, Shibukawa
  11. 1986
    1. Howard Gardens Gallery, Cardiff
    2. Association Silo, Centre de Creation Contemporaine, Val-de-Vesle
    3. Cairn Gallery, Nailsworth, Gloucestershire
    4. Amano Gallery, Osaka
    5. White Art Gallery, Tokyo
    6. Concept Space, Shibukawa
  12. 1987
    1. Juda Rowan Gallery, London
    2. Gillespie-Laage-Salomon, Paris
    3. White Art Gallery, Tokyo
    4. Barn Gallery, Lincoln
  13. 1988
    1. Musée d'Arles, Cloitres de St. Trophime
  14. 1989
    1. Concept Space, Shibukawa
    2. White Art Gallery, Tokyo
    3. P.P.O.W., New York
    4. Graeme Murray, Edinburgh
  15. 1990
    1. Annely Juda Fine Art, London
    2. Vaughan & Vaughan, Minneapolis
    3. Cairn Gallery, Nailsworth, Gloucestershire
  16. 1991
    1. Galerie Laage-Salomon, Paris
    2. Ann Westin Gallery, Stockholm
    3. White Art Gallery, Tokyo
    4. Concept Space, Shibukawa
    5. R2, Takazaki
    6. Charles Booth-Clibborn, London
    7. Galerie Lydie Rekow, Crest
    8. Galerie Renée Ziegler, Zurich
    9. Centre d'Art Contemporain, Geneva
  17. 1992
    1. Laura Carpenter Fine Art, Santa Fe
    2. Angles Gallery, Santa Monica
  18. 1993
    1. Rhona Hoffman Gallery, Chicago
    2. Galerie Josine Bokhoven, Amsterdam
    3. Galerie Laage-Salomon, Paris
    4. White Art Gallery, Tokyo
    5. Concept Space, Shibukawa
    6. R2, Takazaki
  19. 1994
    1. H.S. Steinek, Vienna
    2. Galerie Gisèle Linder, Basel
    3. Galerie Lydie Rekow, Crest,
    4. Annely Juda Fine Art, London
    5. Rosa Turetsky Gallery, Geneva
  20. 1995
    1. Second Floor Space, Reykjavik
    2. Palais Thurn und Taxis, Bregenz, Austria
    3. Plymouth Arts Centre, Devon
    4. Galerie Thomas von Lintel, Munich
    5. P.P.O.W., New York
    6. Concept Space, Shibukawa
    7. Low Bet, Geneva
    8. White Art Gallery, Tokyo
  21. 1996
    1. Cairn Gallery, Nailsworth
    2. Museum of Modern Art, Wakayama, Japan (with Hamish Fulton)
    3. Galerie Gisèle Linder, Basel
    4. White Art Gallery, Tokyo
  22. 1997
    1. Mead Gallery, University of Warwick
    2. Angel Row Gallery, Nottingham
    3. Inverleith House, Royal Botanical Gardens, Edinburgh
    4. Peninsula, Eindhoven
    5. Galerie Peter Lindner, Vienna
  23. 1998
    1. Galerie Thomas von Lintel, Munich
    2. Academie Beeldende Kunsten, Maastricht
    3. Mark Moore Gallery, Santa Monica
    4. Annely Juda Fine Art, London
    5. Galerie Laage-Salomon, Paris
  24. 1999
    1. Galerie Josine Bokhoven, Amsterdam
    2. Rosa Turetsky Gallery, Geneva
    3. Sainsbury Centre for Visual Arts, Norwich
    4. Henie Onstad Museum, Oslo
  25. 2000
    1. Galerie von Lintel & Nusser, Munich
    2. Mappin Art Gallery, Sheffield
    3. Galerie Gisèle Linder, Basel
    4. Galerie Lydie Rekow, Crest
    5. Ballinglen Arts Foundation, Mayo, Ireland
    6. Sculpture at Schoenthal Monastery, Langenbruck, Switzerland
    7. Von Lintel Gallery, New York
  26. 2001
    1. Annandale Galleries, Sydney
    2. Nob Gallery, Okazaki, Japan
    3. Charles Booth-Clibborn, London
    4. Cairn Gallery, Nailsworth
    5. Sleeper, Edinburgh
    6. Galerie Peter Lindner, Vienna
  27. 2002
    1. Rosa Turetsky Gallery, Geneva
    2. Von Lintel Gallery, New York
    3. Concept Space, Shibukawa, Japan
    4. Nob Gallery, Okazaki, Japan
    5. Galerie Elvira Gonzalez, Madrid
    6. Annadale Galleries, Sydney
    7. Gallery New South Wales, Sydney
    8. Temporary Space, Hokkaido, Japan
    9. Michael Sturm Galerie, Stuttgart
  28. 2003
    1. Annely Juda Fine Art, London
  29. 2007
    1. Galerie Konstruktiv Tendens, Stockholm

Selected Group Exhibitions

  1. 1967
    1. Although We Are Painting Now, Ealing Art School
    2. Four European Film Makers, ICA, London
    3. Avantgarde Film, ICA, London
    4. Young Contemporaries/Film, London
  2. 1968
    1. Zwemmers Summer Show, London
  3. 1977
    1. Six British Artists, Museum of Fine Art, Pretto, New York organised by the Lisson Gallery
    2. European and American Drawing, Gillespie-Laage Gallery, Paris
    3. Miniatures, Coracle Press London
    4. Whitechapel Open, London
    5. Annina Weber Gallery, New York
  4. 1978
    1. Foundlings, Coracle Press, London
  5. 1979
    1. Recent Acquisitions of Southampton Art Gallery, exhibited at the Mayor Gallery, London
    2. Europa 79 - Art of the 80's - Survey of New European Art, Düsseldorf
    3. Summer Show, Lisson Gallery, London
    4. Drawing, Gillespie-Laage Gallery, Paris
    5. Drawings from Outer Hebrides, London Collge of Furniture Gallery
  6. 1980
    1. Opening Show, Lisson Gallery, London
    2. Nuova Image, Triennale, Milan
    3. XVI Venice Biennale Aperto, Venice
    4. Toulon Biennale, France
    5. Selected Works, Graeme Murray, Edinburgh
    6. Whitechapel Open, London
    7. British Art 1946-80, Hayward Gallery, London
    8. Five Work Caps, Coracle Press, London
  7. 1981
    1. Contemporary Art and Music, Fruit Market Gallery, Edinburgh
    2. Selected Works, Lisson Gallery, London
    3. Graeme Murray Artists at St. Paul's Gallery, Leeds
    4. Contemporary Art, Orchard Gallery, Londonderry
    5. American and British Art, Gillespie-Laage, Paris
    6. Bienale Sao Paulo
  8. 1982
    1. A Mansion of Many Chambers, Arts Council Touring Exhibition curated byDavid Brown
    2. Recent Acquisitions of the Arts Council Collection, National Theatre, London
    3. Aspects of British Art Today, Metropolitan Museum of Art, Tokyo and touring Japan
    4. 10th Anniversary, L.Y.C. Museum, selected by D. Nash
    5. Studio F Ten Years of Painting, Chelsea Art School Gallery, London
    6. English Books, Frankfurter Kunstverein, Frankfurt
  9. 1983
    1. III Biennale European Graphic Art, Baden-Baden, Germany
    2. Through Children's Eyes, Southampton City Art Gallery
    3. Art and the Land, Rochdale Art Gallery
    4. 1983 Eleven Artists, London College of Furniture Gallery, London
    5. L'Objet Defeu, Gabrielle Maubrie, Paris
    6. Works on Paper, British Council Touring Exhibition
    7. Works on Loan, Graeme Murray Gallery, Edinburgh
    8. Constructed Images, Arts Council Touring Exhibition
    9. World Print Biennale, San Francisco
    10. Whitechapel Open, London
    11. Contemporary Choice, Serpentine Gallery, London
  10. 1984
    1. Six Artists, Metropolitan Gallery, London
    2. Selected Works, Herefordshire Museum
    3. Survey of Fire, Chalons sur Marne Museum, Region Champagne- Ardennes
    4. Second Nature, curated by Commong Ground, Newlyn Art Gallery
    5. Three Galleries, Serpentine Gallery, London
    6. Selected Work, Warwick Art Trust
  11. 1985
    1. Seven Artists, London College of Furniture Gallery
    2. Promenade - Outside Sculpture, Geneva, Switzerland
    3. Carta, Fonds Regionaux D'Art Contemporain Champagne- Ardennes, touring exhibition
    4. Papier/Dechirure, M.J.C. Les Hauts de Beueville
    5. Common Ground, Ecology Centre, London
    6. Landscape Interiors, Coracle Press, London
  12. 1986
    1. Orchard Gallery, Londonderry
    2. Un Aspect Des Collection du Fonds Regional D'Art Contemporain Bretagne, Rennes, France
    3. Overland, Ikon Gallery, Birmingham
    4. Landscape, Kettles Yard Gallery, Cambridge
  13. 1987
    1. The Unpainted Landscape, Scottish Arts Council, touring exhibition
    2. Coon Selected Works, Cairn Gallery, Nailsworth
    3. Book Works, Jonah Jones, Artists Market, London
  14. 1988/89
    1. Private Eyes, Camden Art Centre, London
    2. Victoria Miro Gallery, London
    3. Le Reveil de la Nature, Helsinki Art Hall
    4. Britannica, Trente ans de Sculpture, Musée des Beaux-Arts, Le Havre, touring to Museum Van Hedendaagse Kunst, Antwerp, and Centre d'Art Contemporain Midi-Pyrenees, Labege-Innopole, Toulouse
    5. Roger Ackling, David Nash, Diane Samuels, Mincher/Wilcox Gallery, San Francisco
  15. 1990
    1. The Journey 1990, Lincoln Cathedral
    2. Territories II, Musée de Beaux Arts, Reims
  16. 1991
    1. Archeology into Art, Eastbourne, touring exhibition
    2. Norfolk Portfolio: Recent Work by Roger Ackling, Anthony Benjamin, Derrick Greaves, Norwich Castle Museum
    3. Dessins d'une Collection, Movement 5, FRAC, Picardie
    4. White Art Gallery, Tokyo
    5. Modern Drawings, Anthony Slayter-Ralph Gallery, New York
  17. 1992
    1. One form, one surface, one volume, Galerie Gisele Linder, Basle
  18. 1994
    1. Fine Lines, Anthony Slayter-Ralph Gallery, Santa Barbara, California
    2. In Pursuit of Lost Time, Barbara Krakow Gallery, Boston,
  19. 1997
    1. The Quality of Light, Tate Gallery St. Ives
  20. 1998-99
    1. Small is Beautiful Part XVI: Music, Flowers East, London
  21. 1999
    1. Chart - marking time in the landscape, Angel Row Gallery, Nottingham
    2. Nature/Process, University of California Art Gallery
  22. 2001
    1. Geometrisk, Konstruktiv Tendens, Stockholm
  23. 2002
    1. The Great Divide, The Fruitmarket Gallery, Edinburgh
  24. 2003
    1. On General Release, Fitzwilliam Museum, Cambridge

Public Collections

  • Arts Council of Great Britain
  • Association Silo, Val-de-Vesle
  • Ballinglen Foundation, Ireland
  • British Council
  • British Museum, London
  • Centre d'Art Contemporain, Geneve
  • Century American Corporation,Chicago
  • Cheltenham City Art Gallery
  • Contemporary Arts Society, London
  • First National Bank of Chicago
  • Fonds National d'Art Contemporain, Paris
  • Fonds National d'Art Contemporain, Picardie
  • Fonds Regional d'Art Contemporain, Champagne
  • Fonds Regional d'Art Contemporain, Normandie
  • Fruit Market Gallery, Edinburgh
  • Furkart, Furkapasshöhe, Switzerland
  • Gallery of New South Wales, Sydney
  • Hiroshima Museum of Contemporary Art
  • John and Catherine MacArthur Foundation, Chicago
  • Kreissparkasse, Reutlingen
  • Kunstmuseum, Zurich
  • Ministère de la Culture de la Region, Bretagne
  • Musée d'Arles, Cloitres de St. Trophime
  • Museo Cantonale d'Arte (Panza di Biumo collection), Lugano
  • Musée de Grenoble
  • Museum Folkwang, Essen
  • Naples Museum of Art, Naples, Florida
  • Schoental Monastery, Switzerland
  • Scottish National Gallery of Modern Art, Edinburgh
  • Setagaya Art Museum, Tokyo
  • Southampton City Art Gallery
  • Tate Gallery, London
  • Tokyo Metropolitan Museum
  • U.B.S Bank of Switzerland
  • University of East Anglia, Norwich
  • Victoria and Albert Museum, London
  • Vienna National Film Library
  • Kunstmuseum, Vienna
  • Museum of Contemporary Art, Geneva
  • Museum of the Town, Reykjavik
  • Palais Thurn und Taxis, Bregenz
  • Stedelijk Museum, Amsterdam
  • Wakayama Museum of Modern Art


  1. 1986
    1. Junichin Shioda: Bijutsu Techo, pp. 100-104
  2. 1987
      1. Larry Berryman: 'Roger Ackling', Arts Review, p.186, 27 March
    1. 'Artist through the magnifying glass', The Independent, Friday 6 March
    2. William Packer: Financial Times, Thursday 12 March
    3. Sarah Kent: Time Out, 25 March
    4. Monica Bohm-Duchen: 'Lijn, Ackling, Wentworth, Deacon', Art Monthly, pp. 19, 20 May
    5. William Packer: 'Two sculptors' time and place', Financial Times, Thursday March 12
  3. 1989
    1. Joel Perron: 'Magnifying lens becomes artist's tool', The Japan Times, Sunday 2 April
    2. Michael Brenson: 'Roger Ackling', The New York Times, Friday 9 June
  4. 1990
    1. David Bonetti: 'A very English way with wood sculpture', San Francisco Examiner, 24 January
    2. William Packer: 'Sculpture tailored from the countryside', Financial Times, Saturday 3 February
    3. Marina Vaizey: 'Invitation into magical worlds', The Sunday Times, 25 February
    4. William Feaver: 'Warm fronts to whet a weatherman's appetite', Observer, Sunday 25 February
    5. David Lee: 'London Reviews', Arts Review, 23 February
    6. Sue Hubbard: Time Out, 28 February - 7 March
    7. Mel Gooding: 'Reclamations and Reminders: Roger Ackling's sculpture', Art Monthly, March
    8. Nikkei Art, April
  5. 1991
    1. Tony Warner: 'Norfolk Portfolio', Arts Review, 18 October
    2. Marjorie Allthorpe-Guyton: 'Territorial Rights', Artscribe
    3. Nadia El Beblawi: 'Experience poetique traduite', Journal de Geneve, Tuesday 22 October
    4. Laurence Chauvy: 'Le soleil, maitre d'oeuvre', Gazette de Lausanne, Tuesday 22 October
    5. Francoise Nyffenegger: 'Du bois au fer', La Tribune de Geneve, Saturday 2 and Sunday 3 November
    6. Francoise Nyffenegger: 'Mes dix plaisirs esthetiques', La Tribune de Geneve, Saturday 21 and Sunday 22 November
  6. 1992
    1. Gussie Fauntleroy: 'Ackling has a burning desire to create his own style of art', Pasatiempo ,The Santa Fe, New Mexican Weekly Arts & Entertainment Magazine, 27 March
    2. Pamela J. Tarchinski: 'Culture Plays Pivotal Role In Artworks', Journal North, Santa Fe, Thursday 2 April
    3. Simone Ellis: Pasatiempo , The Santa Fe, New Mexican Weekly Arts & Entertainment Magazine, 3 April
    4. Sybille Roter: 'Konfrontation statt Kunstkonsum: "une forme une surface un volume" in der Basler Galerie Gisele Linder', Basler Zeitung, 10 July
  7. 1993
    1. Voorkeur, 24 June (review of the exhibition at Galerie Josine Bokhoven, Amsterdam)
    2. Din Pieters and Mark Peeters: NRC-Handelsblad, 25 June
  8. 1994
    1. Bijutsu Techo, 5 May (review of the exhibition at White Art Gallery, Tokyo)
    2. The Christian Science Monitor, 26 May (review of the exhibition at Annely Juda Fine Art)
    3. ARTIS, December (review of the exhibition at Galerie Turetsky)
    4. The Financial Times, 31 May 1994 (review of the exhibition at Annely Juda Fine Art by William Packer)
    5. 'Untitled' review of contemporary art, Summer 1994 (review of the exhibition at Annely Juda Fine Art)
  9. 1995
    1. ARTI, Volume 24, May
  10. 1996
    1. Reviews of exhibition with Hamish Fulton at Wakayama Museum of Modern Art:
      1. Wakayama Prefecture Newspaper, 23 May
      2. Sankei Newspaper, 24 May
      3. Yomiuri Newspaper, 4 & 28 June
      4. Asahi Newspaper, 27 June
  11. 1998
    1. William Packer, 'Age shall not wither the artists', Financial Times, 9 June
    2. Juan Cruz, 'Roger Ackling', Review of exhibition at Annely Juda Fine Art, Art Monthly, July 1998
  12. 1999
    1. John Haldane: 'Back to the Land', Art Monthly, June
  13. 2000
    1. Tadeus Pfeifer: 'Spannende Ruhe' (review of exhibition at Gisèle Lindner Gallery), Basler Zeitung, 17 March
  14. 2002
    1. Mel Gooding, Song of the Earth, RA0577 illustrated on page 35