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					Peter Randall-Page:
a selection of other works
2007 Between the Lines




      ‘Between the Lines’ was created from a specially selected 3mx2mx2m red granite glacial
      boulder weighing 10 tonnes.

      Commenting on his inspiration for the piece, Peter said, ‘ I have always been fascinated by
      the patterns found in nature and in recent years have begun to research their origins in
      phenomena best understood in terms of physics, chemistry and geometry. The smoothly
      undulating but randomly shaped rock has been carved over its entire surface with deep
      linear incisions whilst retaining its overall eroded shape’.

      Commissioned for Fisher's Square, Cambridge by Grosvenor for the central piece of their
      new development, Peter was invited to design the hard landscaping which incorporates his
      sculpture, paving design, tree grills and a bench.



2007 Eginja Eriyimba




      'Eginja Eriyimba' translates as 'Singing Rock' from Luganda, the language of the Baganda
      people of Lolui Island, Uganda where the sculpture is situated.

      Early in 2007, the Ruwenzori Sculpture Foundation organised an expedition to the remote
      island of Lolui in Lake Victoria, Uganda, of which Peter Randall-Page was a part. Dangerous
      and inaccessible, beautiful and mysterious, thanks to its neglected ancient history, Lolui
      made the ideal location for a multi-disciplinary, bi-cultural Arts project that needed to find
      new yet common ground for all the participants involved.

      The island is filled with huge granite boulder clusters, whose organic shapes bring to mind
      Peter’s raw material. The Foundation wanted Peter to confront and respond to his poetic
      ancestry and, both natural and human, feeling that the spiralling, maze-like Neolithic ochre
      paintings found on the rocks would be an inspiration. The Ugandan painter and sculptor,
      Peter Oloya, was also chosen to partner him in a quest to create new monuments to the
      island and its forgotten cultural inheritance.
     Whilst staying on the island an egg-shaped rock that had split almost perfectly into two
     attracted Peter’s attention. Its similarity to his earlier works using split boulders seemed
     providential and eventually Peter felt that he should make a piece of sculpture to leave his
     mark there and express his response to a remarkable place and its extraordinary history.

     Peter reacted to the environment, filling sketchbooks, taking photographs, studying patterns
     in the skins of reptiles, wings of insects, flowers or fish scales. His interactions with the
     musicians, fishermen and children were then shared over campfire discussions. Gradually
     Peter developed his experiences and emotions into the carving of the split boulder ‘Eginja
     Eriyimba’. Using spiral ochre patterns on the two faces, the concentric ripples echo out from
     the core; as much as the ripples of a culture start.



2006 Memorial to Sachem Mahomet Weyonomon




     Commissioned by Southwark Cathedral and the Mohegan Tribe, Connecticut. This memorial
     is to their Sachem who died in London in 1736 while waiting to present a petition against the
     white settlers invasion of their land rites. Carved from a boulder from their tribal lands, it
     was unveiled by Queen Elizabeth II on the 22 November 2006. Peter took as a starting point
     the four lobed 'medallion' shape, common in Mohegan culture and representing the
     universe, at the summit of the stone and wanted the concentric linear pattern to end up
     parallel to the bottom of the stone at ground level. The undulating lines are like trail motifs,
     thought to symbolise the path or cycle of life. At ground level, the lines or 'trails' begin by
     simply following the contours of the stone, metamorphosing as they rise to the apex, into
     the 'medallion' motif with its connotations of the four directions surrounding the space of
     'pervasive sprit'. This linear pattern was carved in soft low relief, not only preserving but
     enhancing the natural form of the rock. The overall effect is that of the rock rising out of the
     ground like the tip of an iceberg, implying that it is the only visible part of a massive form
     beneath the ground, giving the sculpture a much greater presence than its actual physical
     size.
2006 Mind’s Eye




      ‘Mind’s Eye’ was commissioned by the Department of Psychology, Cardiff University with
      support from Artworks Wales, and is situated on the Tower lecture theatre, Park
      Place. Peter has said of this piece ‘Pattern recognition is a powerful characteristic of the
      human mind and, over the years, I have explored the boundaries of our ability
      to 'read' pattern by combining order and randomness in a series of 2D works.
      I have also long been interested in how the human imagination loves to
      conjure with symmetrical patterns and have made much work which explores
      this phenomenon. I liked the idea of incorporating a number of different kinds
      of cognitive illusions in one artwork. The most obvious cognitive game to play
      given the nature of the architecture is symmetry. By mirroring an image on
      both walls (Rorschach style) the full effect of the pattern would only become
      apparent when standing directly outside the entrance’.




2005 Give and Take




      The boulder used to form 'Give and Take' was found by chance through one of Peter’s
      friends during an excavation dig in Fort William, Scotland and was buried entirely under the
      ground.

      Peter worked directly from the natural, weathered shape of the rock, using its bulges, dips
      and peaks to dictate the composition of the sculpture. These irregular qualities appealed to
      both his love of organic forms and interest in the role of chance in the natural world.

      'Give and Take' also embodies some new themes in Peter’s work, which look at perfection
      and order, in particular the geometrical, crystalline shapes found in atoms. This is
      symbolised here through the matrix of hexagons and pentagons carved across the stone's
      surface, where Peter has in a sense, magnified its molecular structure, to show a precise,
      almost mathematical pattern.
      Merging the internal and external appearance of the boulder into one, this rock has been
      turned inside out, leaving an outer layer or 'skin' that may seem exposed and unprotected.
      Its scale and mass give the boulder an enormous sense of presence and physicality,
      enlivening the piece, whilst it simultaneously retains a silent presence.

      Each of the 630 hexagons and 12 pentagons upon its surface have been carved by hand
      using a 'bush hammer', a tool similar in shape to a meat tenderiser, which creates a subtle,
      ground effect. This complements the natural undulations of the stone and in a manner,
      producing a controlled form of man-made erosion.

      This monumental granite sculpture was installed in June 2005 in Newcastle upon Tyne. It is
      the centre piece of a new mixed use development known as Trinity Gardens and is located
      within an amphitheatre of hard landscaping designed by Peter in collaboration with the
      landscape architect Ros Southern.

      'Give and Take' won the 2006 Marsh Award for Public Sculpture, selected by PMSA (Public
      Monuments and Sculpture Association).




2005 Jacob’s Pillow




      ‘Jacob’s Pillow’ was commissioned by the Dartington Hall Trust for the historic gardens at
      Dartington Hall.

      Although not a religious man, as a child Peter was fascinated by the biblical story of Jacob
      lying down with a stone for a pillow, and dreaming of a ladder going up to heaven. He
      comments, ‘how uncomfortable it must have been!’

      After viewing the location intended for the sculpture Peter recognised the potential for it to
      function in two quite different ways: from other parts of the garden it forms an alignment
      with the topiaried yews known as the Twelve Apostles, while at close quarters it appears to
      have an informal and almost casual sitting in relation to the adjacent magnificent oak,
      unifying the two areas.

      Influenced by the notion that at a distance the sculpture would be glimpsed through the
      foliage of the surrounding trees and shrubs, and aware of the dappled light of its location,
      dictated for Peter not only its form but also the use of a pale buff or yellow limestone to
      shine and glow against the backdrop of dark yew foliage.
2004 Sung-Woon




     ‘Sung-Woon' (translated from Korean means constellation or more literally, cloud of stars)
     was commissioned especially for the Gwangju Biennale, South Korea and is an example of
     the way in recent years, Peter has attempted to combine geometric order with chaotic form,
     in order to reveal natural processes from the inside, through understanding their operation
     rather than simply their appearance. The eroded boulder is mathematically chaotic being
     the result of millions of years of natural erosion. The Fibonacci sequence pattern which is
     superimposed onto this random shape relates to growth patterns in plants and has to adapt
     and distort to accommodate the random shape of the stone. It is hoped that this work
     achieves the kind of balance between order and chaos found in nature, like a constellation
     of stars on a random ground.



2004 IIMW




     This two part sculpture celebrates the vision of Joe Turner, who created the Two Moor's
     Way, a north-south link between Ivybridge on the southern edge of Dartmoor and Lynmouth
     on the North Devon Coast of Exmoor, crossing both national parks of Dartmoor and Exmoor.
     ‘IIMW’ was formed by cutting a boulder in half and each cut face is a mirror image of the
     other. One half is sited at West Anstey as the Two Moor's Way enters the Exmoor National
     Park from the south. The other is sited 30 miles away to the south, as the Two Moor's Way
     leaves the Dartmoor National Park, 2 miles to the north of Drewsteigtnon. The sculpture was
     commissioned by Devon County Council.
2003 Ebb and Flow




      'Ebb and Flow' is an enormous granite bowl, 2.4m in diameter and 1.1 m high and weighing
      seven tonnes. It is set within a spiral granite path beside the historic Newbury Lock, to which
      it is connected by an underground pipe. As the lock mechanism is operated the water in
      both lock and sculpture rises and falls simultaneously. The piece was the first work of art in
      Newbury's Town Trails, commissioned by Newbury Town Council. ‘Ebb and Flow’ is situated
      near the bridge over the canal at the south end of Northbrook Street, open to the public.




2002 The Fullness of Time




      This private commission involved reshaping a steep hill into three broad terraces. A series of
      three limestone carvings are set into 'coves' in the banks. They are a sequence like three
      stages of development from geometric low relief pattern to full blown organic form.
      Private collection, Warwickshire. Not open to the public.
2001 Water Garden




      This water garden was designed by Peter for a private collector as a permanent location for
      two sculptures, 'Willendorf Knot' and 'After Bessie Smith'. Peter also designed a pair of
      wrought iron gates as the final element of the scheme.

      Private Collection, Oare, Wiltshire. Not open to the public.



2001 Maze at Burghley Sculpture Garden




      The turf maze designed by Peter is really a very large drawing which is re-cut into the grass
      every year. Burghley Sculpture Garden, Burghley House, Stamford, Lincolnshire.
2000 Inner Compulsion




      This large three part work in Kilkenny limestone was commissioned by the Royal Botanic
      Gardens, Kew with financial assistance from the Gulbenkian Foundation. To stand outside
      the award winning Millennium Seed Bank (The Wellcome Trust Millennium Building,
      Wakehurst Place, Ardingly, West Sussex) designed by architects Stanton Williams. It was
      officially opened by the Prince of Wales in November 2000.



2000 Womb Tomb




      ‘Womb Tomb’ is formed of two elements in granite, weighing 16 and 25 tonnes respectively.
      Truly monumental in scale, the sculpture continues themes that have always occupied Peter:
      the relationship between the outside and inside of a form, surface and volume, skin and
      flesh.

      In ‘Secret Life I’ & ‘Secret Life IV’ 1994, glacial granite boulders were cut in half, but worked
      only on their internal surfaces as if to 'reveal' unexpected forms. ‘Womb Tomb’ is a
      development from these, but with the naturally rounded boulder hollowed out to form a
      space, large enough for a person to enter. After a long search, Peter Randall-Page found the
      right boulder in southern Germany. It was worked at a factory near the quarry. First the
      stone was sawn into slices then carved into a series of concentric rings before being
      reassembled with lead spacers to replace the material removed by the saw.

      The sculpture has a powerful presence. One element lies on the ground, rough and
      unworked on the outside but for the regular bands of lead which traverse the surface. Its
      interior is formed of soft, deep ribs in concentric curves. The other portion of the sculpture is
      sunk into the earth and exhibits the same finely carved internal surface. The huge boulder
      appears to reveal two soft and sensuous womb-like voids: one a well and the other a cave.
      'Womb Tomb' was acquired by a private collector and permanently sited in 2001. Not open
      to the public.



1994 Secret Life I




      Rock holds the secret of its own history, which is sometimes revealed to us by the fossils it
      may harbour, or by the explosion or the sedimentary layers which might have formed it.
      Peter Randall-Page suggests in his ‘Secret Life’ series, of which these boulders form part,
      that there is always more within: within us, within a stone, within a body or a shell.

      In the first of these sliced and carved Finnish granite rocks Peter has revealed curling lines
      which describe a tree: this suggests linear foliage motifs found in Celtic design. In the fourth,
      a nest of smaller rocks appears to have been placed, geometrically, within what has become
      through his intervention a protective shell - much as crystals grow inside the earth.

      There is a marked contrast between the outer, natural boulder, worked through the ages by
      glacial erosion, and the inner patterns carved in newly exposed stone. The rough and tumble
      of climate and time have done their work on the outside. The artist has made us aware of
      these processes, whilst extending our thoughts to the myriad preoccupations, questions and
      experiences that he has brought to the sculpture at the point of carving the inside. The
      decorative knots and coils of ‘Beneath the Skin’, carved in Kilkenny limestone in 1990 and
      1991, showed outer form describing inner possibilities. In the ‘Secret Life' series, this
      proposition is reversed.
1991 Beneath the Skin




      Peter Randall-Page first came across Kilkenny limestone in the 1970s when he was assisting
      in the restoration work of Wells Cathedral. It was used to replace the columns in the arcades
      on the cathedral's facade. Blue in colour, this stone gives a wide range of tone and surface
      texture depending on the way in which it is worked.

      In ‘Beneath the Skin’, as with ‘Ways to Wrap a Stone I’ and ‘II’, the inner force of bulging
      shapes indicates the outer membrane. Peter has likened this piece to a yolk sac, revealing
      the form from beneath the surface. It also recalls the chrysalis, seed-pod or fruit, forms to
      which the artist continually refers.
1990 Ways to Wrap a Stone I & II




      These sculptures were made to fit two existing niches in the ruined chapel of the Bishop's
      Palace, Lincoln, on the occasion of ‘The Journey’ exhibition in 1990. The tightly and precisely
      coiled forms have an organic physicality, conveying a sense of inner energy and the notion of
      a force bursting from within.

      Ideas of containment and potential release are contrary features in ‘Ways to Wrap a Stone I’
      and ‘II’.




1988 Cone and Vessel (Forest of Dean)




      Created on a large scale, these intricate, organic forms are revealed in all their detail and
      draw our attention to the tiny fragile shapes that can exist in nature. The sculptures are
      placed under their respective trees and reflect the balance in the Dean between deciduous
      and coniferous trees. The colour of the Forest of Dean sandstone quarried nearby varies
      from pink to green
      Peter Randall-Page took as the basis for his works, ‘Cone and Vessel’, the intricate forms of a
      pine cone and acorn cup. By enlarging the scale so significantly, the object takes on a surreal
      dimension, suggesting giant forest trees. The skilful carving of the fletched acorn cup and the
      delicate double spiral of the knobs of the cone draw our attention to the intricate beauty of
      tiny things, so that our perception of the vast forest is transformed, and we begin to notice
      the minutiae of the forest life, the curious configurations of tree bole and leaf, insect and
      bark, lichen and furled bracken which comprise the hidden face of the forest.
1990-
1996    Secret Place 1990 | Granite Song 1991 | Waterstone 1992 | Passage 1992
        Burrow Stone 1994 | Village Garden 1996

        These works were made over a period of six years as part of a commission by environmental
        charity, Common Ground. The idea was that Peter Randall-Page worked in and around his
        own place in Drewsteignton, north east of Dartmoor in Devon, over 4-5 years, creating
        works that responded to the locality, reinforcing and extending the particularity of the place.
        This necessitated a continuous dialogue with local people, revealing their knowledge,
        perceptions and thoughts about where the works might go. The resulting five sculptures and
        a garden are each located in areas that can be accessed by the public, enabling the pieces to
        become part of the social generosity of the place.

        Made from local materials and embedded in the landscape without signs or plaques, they
        have a powerful resonance with place. The hope is that visiting walkers will find that a
        conversation with locals will give interesting local insight into the sculptures and that the
        people of the place will continue to add their own layers of description, explanation and
        myth as the real story-tellers of the locality.

Secret Place Ashburton marble
Located on the Two Moors Way footpath between Drewsteignton and the A30 road.

Granite Song Dartmoor granite
Located on a small island in the middle of the River Teign on private land, but visible from the Two
Moors Way footpath between Drewsteignton and Chagford.

Waterstone Granite boulder and water
Located on the side of a public footpath crossed by a small stream through Rectory Wood between
the Two Moors Way and Hunters’ Path, south of Drewsteignton.

Passage Dartmoor granite and lead
Located at the end of an avenue of mature trees, on either side of a gap in a stone wall, in Whiddon
Deer Park between Chagford and Drewsteignton.

Burrow Stone Granite
Located on a public footpath from Drewsteignton to Burrow Farm

Village Garden Granite and oak bench, granite bird-bath and table, granite and limestone paving,
oak gate
Located in the village of Drewsteignton

				
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