Published on 1st December 2025

Recent visitors to the Knepp Estate in Dial Post may well have been impressed by a display of wood-turned sculptures in the Wilding Shop. 

These beautiful pieces, which include bowls, urns, amphora and vases up to a metre tall, are crafted by Niall Clutton from local timber. A photographer by trade, his passion for wood-turning only developed after he moved to a new house in Storrington and utilised tools left by the previous owner.  

He said: ‘The former occupant used the workshop to build wooden components for classic cars, such as the Morris Traveller, assisting in restoration projects across the world. When he moved, there were some tools that he didn’t need and kindly left for me. My wife, Helen, must have noted my interest in his lathe, as she brought me a small one for Christmas. I hadn’t done any wood-turning since my school days, so approached the lathe with trepidation, but gradually I learned basic wood-turning skills.

‘An experienced wood-turner in the village was a huge help, giving me good advice and helping me source further tools and machinery. I started making small ornamental pieces as gifts for friends and family, then – as my confidence grew – bought a Union Graduate, a lathe that allowed me to shape larger cuts of timber. When I took some of my pieces to a gallery, they remarked that I wasn’t so much a wood-turner as a sculptor. I thought, “that’s interesting. Maybe that’s the way to go!”’ 

Consequently, Niall has leaned towards statement pieces for the home, that are mostly ornamental rather than functional. To create artistic interest, he seeks out unusual characteristics and blemishes within the timber.He said: ‘It’s generally the ugly pieces of wood that nobody wants – full of burrs and growths – that give the best results. For example, sections where multiple branches lead from the stem often produce grains at intersections, which are only revealed when you peel away the outer layers. One of my recent bowls was shaped from a felled sycamore in Pulborough, which had been home to a colony of ants. They had created a network of tunnels within the wood, like a miniature Manhattan. While parts of the wood were too fragile to shape, I was able to utilise some of the ant tracks in the finished piece.   

‘When you turn wood, you come across all kinds of things. I have encountered barbed wire wrapped deep inside a tree trunk, which isn’t much fun when the lathe’s gauge hits it. I’ve even found lead shot. Other wood-turners have discovered musket balls concealed in timber for centuries. All these things form part of the story of the finished piece. Wood has a way of speaking to people. They can’t help touching it, and don’t engage or connect with ceramics or glass in quite the same way. That’s why – even though I might add a gloss finish – I tend to let the wood do the talking, blemishes and all.’ 

GREEN FINGERS

Niall typically works on several pieces at a time, due to the complexities of the wood varieties he uses. He sometimes works with green wood (recently felled), as it’s softer and easier to turn on the lathe than seasoned wood, which has less moisture but is harder to turn. However, green wood can contains lots of moisture, so it warps and shrinks as it dries. For these reasons, it can take a while to complete a piece, especially if Niall is working with freshly-cut timber. 

He likes to work with a wide range of trees, as each has its own characteristics. Maple offers beautiful grain patterns, while oak’s natural cracks has interesting contours, although greener oak is rich in tannic acids that can corrode lathes and shaping tools. Silver birch trees are susceptible to spalting, a natural colouring process caused by fungi. This can create a beautiful marbling effect though the heart of the stem, making it another of Niall’s favourites. 

He said: ‘I like working with yew too, as it also produces beautiful grain patterns that shoot off in every direction. However, the dust it produces during turning is toxic, so you have to be careful. What is interesting with yew is that the sap wood has a pale, creamy yellow and the heartwood has deep red tones, giving you great contrast.  

‘I have also used Robinia (false acacia) and holly, which is sometimes used to make chess pieces, as it has a whiter shade. I’ve also worked with hornbeam infected with a disease that created a striking pattern, as if an ink pot had been spilt right through its heart. Whether working with walnut – which has a lovely colour and gives a smooth finish – or a birch that’s full of holes and burrs, the wood always takes you on a journey. When a piece is on the lathe, you never know what secrets will be revealed. Sometimes, you find an incredible pattern that you wish you could recreate over and again, but you can’t, and that’s the joy of wood-turning.’ 

EXPRESS YOURSELF

Niall's artistic eye has been honed during a successful career as a photographer. While at Art School, he took photography as one of his options and enjoyed it so much that he pursued this interest after graduating. After assisting a photographer who specialised in shooting prime properties in London, he set up his own business, becoming renowned for architectural and interior photography. His work with interior designers and hoteliers has taken him around the world, with one of his most recent assignments held at the five-star St Regis Venice Hotel.  

If Niall’s photography is about capturing perfection, his wood-turning allows him to be more expressive. He creates different objects of different sizes, not only to offer various price points for customers, but also to provide occasional respite from the physical strain of turning large chunks of wood. Increasingly, he is working to commissions too, often turning pieces shaped from wood that has sentimental value to the client...  

Niall said: ‘I took some pieces along to Parham House & Gardens in Storrington and was later commissioned to turn a series of large vases and vessels for their Autumn flower show. These were all made from a beech tree that had fallen on the estate. The exhibition went well and all the pieces were sold, which inspired me to continue to explore turning larger, ornamental pieces. 

‘Since then, I’ve shaped further pieces for Parham, using an oak tree that had fallen on the estate. Another client contacted me about a tree on his property that had to be felled, but had always been cherished by his family, his mother in particular. He embraced the idea of making a new sculpture from this tree, so that it could continue to live on. Many of us have trees that hold sentimental importance, so it’s great to be able to create something new from them.’

FOLLOW THE GOURD!

As well as selling online, Niall’s work can be seen in the striking display at the Wilding Shop. Niall first visited Knepp two years ago and met Creative Director Leah Brazier, who realised that his sculptural approach complemented the shop’s ethos. When Niall’s early pieces proved popular, Leah offered a larger exhibition space designed around an upturned tree trunk in the entrance.  

Niall said: ‘Knepp is the perfect setting for my work, as I create something new from the natural materials around us, which ties in nicely with the sustainable ethos of the rewilding project. We are very fortunate in this part of the world, as we have an abundance of trees and natural beauty, so I don’t need to worry too much about supply issues. If anything, I can afford to be picky, selecting wood that has the most interesting flaws and characteristics. 

 ‘I’m now working on new pieces inspired by the Knepp estate, which I hope to complete by the New Year. I find myself drawn towards gourd-like shapes at the moment, and some of the vegetables in Knepp’s Market Garden have already given me fresh inspiration!’  

WORDS: Ben Morris/PHOTOS: Alan Wright

Further information: You can see a gallery of Niall’s work on his website at www.niallclutton.net