“I remember reading a story as a kid in Japan ... it was from the folktales of Oita, the region in which I was brought up and the story was about a guy, a priest, who decided to carve a passage through a mountain because travellers kept falling to their deaths from the treacherous path which ran along the cliff edge. I think it took him over twenty years. I remember being hugely impressed with the idea that one person could even think to carve through a mountain. I later visited the passageway where the marks of his chisels could still be seen ...
Stone carving requires a huge amount of persistence and determination but once you get to grips with the material, it can be surprisingly flexible and the work itself is strangely meditative. The process of carving stone is like a kind of active dreaming. The material has a density, an unforgiving nature and sense of permanence, but the work I do is more about trying to convey an idea of transformation, of fragility and lightness.” Alyosha Moeran
“In recent years I have become fascinated by the way in which nature seems to exist in dynamic tension between the tendency towards order and the tendency towards chaos. It seems to me that geometry is the theme on which nature plays its infinite variations. We are aware of underlying mathematical principles by inference through the forms that nature produces, like the shadows on the wall of Plato's cave, hinting at perfection.
Accepting the shape of the rock as a given I have mapped the surface with a structure based on geodesic geometry which packs things together with optimum efficiency; nature loves economy. It is the geometry of Buckminster Fuller and the Platonic solids. In this work I am exploring the relationship between order and chaos, theme and variation, geometry and biology”. Peter Randall-Page FRBS, on his granite sculpture 'Sum of the Parts Maquette' in 'The Sculpted Stone' at The Garden Gallery.
"I love discovering and sourcing my material; it has taken me to people and places I would otherwise not have found or thought of visiting. I hope to give the viewer or discoverer of my work the same sense of voyage, process and emotion I have felt in its creation." Guy Stevens ARBS
“Letter carving in stone is a precise discipline which requires patience and attention to detail. Each inscription is drawn out in pencil and carefully hand-carved by mallet and chisel. No computers or machinery are used to design or create the inscriptions”. Robyn Golden-Hann
"Ancaster Weatherbed is quite hard but carves well and if desired will polish to a good smooth surface which enhances the colour and feels lovely. The stone is full of tiny fossils which makes it very beautiful and gives it character. If the surface catches the sun it can be seen to glint brightly and I have been told but do not know if it is true, although I love the idea, that the sparkles are caused by fossilised fish scales! I find it a very rewarding and challenging stone to work, to be able to create a sculpture which works together with the inner colour formation of the stone”. Jude Tucker