Patrick Comerford
I was recalling earlier this week my visit to the recently-restored Fitzrovia Chapel in Pearson Square, off Mortimer Street in London. In a sunny corner, beside the chapel and beneath the tall blocks of a new development, ‘The One and The Many’ is a large sculpture by Peter Randall-Page reminding us of humanity’s shared search for the meaning of creation and our origins.
Peter Randall-Page sculpted ‘The One and The Many’ ten years ago (2015) from a naturally eroded Bavarian granite boulder, weighing 25 tonnes and measuring 3519 x 2240 x 2065 mm and inscribed over its entire surface with marks carved in low relief.
‘The One and The Many’ is primarily a celebration of human ingenuity and imagination. ‘Our ability to convey meaning to one another, through time and space, by making marks has revolutionised human culture and society,’ Peter Randall-Page has said. ‘The human desire to make the world meaningful seems to be ubiquitous and intrinsic to our very nature.’
Embracing many cultures, his sculpture is in the heart of Fitzrovia, an area with a rich and vibrant cultural history and thriving creative community.
It is inscribed with many of the world’s scripts and symbols, from the writings of ancient Babylonia to Mongolian ‘ornamental’ seal script. They recount stories of the creation in poetic musings, sacred scriptures and epic tales of our origins.
Almost all cultures and languages across time have creation myths and narratives that seek to explain how our world came into being, and this leap of imagination illustrates the essence of creativity across many cultures and languages. One of the earliest uses of written language was almost certainly to set down these stories by making marks on clay, papyrus and vellum.
Based on scholarly advice and artistic preferences, Peter Randall-Page chose over 30 variations on the creation myth from around the world. He included writing systems from the earliest cuneiform script in ancient Mesopotamia 5,000 years ago to modern languages. The selected texts from ancient and modern writings were then arranged and inscribed onto the vast boulder, in effect the earth itself.
The texts themselves are creation stories from various cultures, each conveyed in their own writing systems, and the chosen lines speak of cosmology and the material and poetical formation of the universe in a variety of cultures.
There are quotations and texts in Minoan Linear A from Crete, Sanskrit, Japanese, Cyrillic, Ogham Irish Script, Korean, Mongolian, Ancient Greek, Hebrew, Latin, Lycian and Arabic, to name but a few.
He tried to avoid pictograms and hieroglyphics, preferring to concentrate on writing as abstract mark making. He has included Braille and Morse Code, but not musical notation or mathematical symbols. A quotation from Samuel Beckett’s play Endgame is represented in Morse Code, and a quotation from Jorge Luis Borges’s short story ‘God’s Script’ is written in Braille.
In this way, ‘The One and The Many’ is an exploration of the ways we have contemplated, through a wealth of poetic musings and epic narratives, the theme of ‘In the beginning’, and it is also a celebration of human ingenuity and imagination.
Our human ability to convey meaning to one another through time and space, by making marks has revolutionised human culture. In Peter Randall-Page’s own words, ‘These myths and legends have been distilled by a kind of “cultural natural selection” over countless generations and as such they often tell us more about the human condition; our hopes and fears, than about literal cosmology.’
The naturally eroded boulder chosen for the sculpture is a fragment of solidified magma, the material the planet is made of. Its overall form is the result of innumerable chance events over a geological timescale stretching back to the creation of the Earth itself.
Peter Randall-Page has and international reputation for his large-scale sculptures, drawings and prints inspired by geometric forms and patterns from nature. He has undertaken numerous large-scale commissions and exhibited widely. He was elected a Royal Academician in 2015. His work is held in public collections world-wide, including the Tate Gallery, the British Museum and the Eden Project.
His sculpture ‘After the Winter’ was bought in 1981 by the Milton Keynes NHS Trust in anticipation of the opening of the new hospital. To this day, it is situated in a small courtyard space near the Eaglestone Restaurant, one of many that offer a quiet oasis at the hospital.
‘The One and The Many’ is permanently located at Fitzroy Place, Pearson Square, off Mortimer Street, London, and was commissioned by Exemplar and Aviva, developers of Fitzroy Place and project managed by Patrick Morey-Burrows of ArtSource.
• A dedicated website theoneandthemany.co.uk gives more background on the project as well as translations of the inscribed texts.
No comments:
Post a Comment