Free-standing sculpture by William Peers

William Peers freestanding sculptures are primarily in marble, with the materials being sourced from Italy and Portugal.

Click once on each work to enlarge it. For more images of each sculpture, please contact us at : info@williampeers.com

 

Marble sculptures in William's studio

 

Tal

Tal was the inspiration for the exhibition ‘A Line in Space’. I find this form fascinating, and have carved several versions of it.

Tal: CARRARA MARBLE, 2016: W 45cm, H 74 cm, D 37 cm; SOLDTal: CARRARA MARBLE, 2016: W 45cm, H 74 cm, D 37 cm; SOLDTal: CARRARA MARBLE, 2016: W 45cm, H 74 cm, D 37 cm; SOLD

 

 

Yoha

This sculpture reclines, and I can’t help being reminded of Henry Moore. Are those languid limbs to some?

Yoha: CARRARA MARBLE, 2017: W 63cm, H 61 cm, D 38 cm; £12,800

 

 

Tulla

A double loop, almost touching along its length.

Tulla: CARRARA MARBLE, 2017: W 64cm, H 66 cm, D 14 cm; £12,000

 

 

Tetsu

This is the most compact of the series and we are thrown off the scent of its regularity as it is balanced off-centre.

Tetsu: CARRARA MARBLE, 2017: W 46cm, H 73 cm, D 53 cm; currently being exhibited www.jmlondon.comTetsu: CARRARA MARBLE, 2017: W 46cm, H 73 cm, D 53 cm; currently being exhibited www.jmlondon.com

 

 

Loren

Loren lies back, and it is unusual in the series as the resting point is far from the centre.

Loren: CARRARA MARBLE, 2017: W 69cm, H 30 cm, D 9 cm; SOLD

 

 

Sandlin

At Sandlin the children danced in the dark with sparklers. The lines of the sculpture remind me of great sweeps of light.

Sandlin: CARRARA MARBLE, 2017: W 51cm, H 84 cm, D 39 cm; SOLD

 

 

Achill

Deceptively simple; this form is astonishingly difficult to balance. The weight is low and the circle eccentric, giving rise to the speculation: Is the irregularity causing the thinning? Or gravity perhaps?

Achill: CARRARA MARBLE, 2016: W 47cm, H 63 cm, D 10 cm; £7,200

 

 

Lyra

The base with its two feet lends Lyra a figurative feel, and the unbalanced sculpture seems as if it is moving.

Lyra: CARRARA MARBLE, 2017: W 60cm, H 93 cm, D 29 cm; SOLD

 

 

Owello

For a while Owello was too regular, too balanced. I pushed (not literally as you cannot push marble) one side up in relation to the other to give some restlessness to it.

Owello: CARRARA MARBLE, 2017: W 48cm, H 99 cm, D 21 cm; SOLDOwello: CARRARA MARBLE, 2017: W 48cm, H 99 cm, D 21 cm; SOLDOwello: CARRARA MARBLE, 2017: W 48cm, H 99 cm, D 21 cm; SOLD



Mogal

One of the most challenging sculptures of the series, technically. I like the negative space trefoil.

Mogal: CARRARA MARBLE, 2017: W 63cm, H 77 cm, D 32 cm; SOLD

 

Tasil

Double rings almost touching whizz round on a solid base.

Tasil: CARRARA MARBLE, 2017: W 65cm, H 83 cm, D 24 cm; currently being exhibited www.jmlondon.com Tasil: CARRARA MARBLE, 2017: W 65cm, H 83 cm, D 24 cm; currently being exhibited www.jmlondon.com

 

 

Aire

Almost round, yet a tension seems to exist between the earth and the sky. This ‘tug of war’ might have caused the thinning.

Aire: CARRARA MARBLE, 2016: W 59cm, H 68 cm, D 10 cm; currently being exhibited www.jmlondon.com


Pohai

This is pushing the eccentric circle even further. Some convex forms become concave and thin at the point of most change.

Pohai: PORTUGUESE MARBLE, 2017: W 54cm, H 66 cm, D 14 cm; SOLD

 

 

Tawin

Both irregular and balanced, the trajectory seems uncertain, hesitant and yet still as the weight is central.

Tawin: ITALIAN MARBLE, 2017: W 46cm, H 82 cm, D 40 cm; SOLDTawin: ITALIAN MARBLE, 2017: W 46cm, H 82 cm, D 40 cm; SOLD

 

 

Timolin

Timolin is flatter and wider than Tasil and Tulla but with the same double loop.

Timolin: ITALIAN MARBLE, 2017: W 65cm, H 75 cm, D 23 cm; currently being exhibited www.jmlondon.comTimolin: ITALIAN MARBLE, 2017: W 65cm, H 75 cm, D 23 cm; currently being exhibited www.jmlondon.com


 

Perot

Not one, but two, loops in space. Here I tried to push the eccentricity to one corner and let the rest be still.

Perot: ITALIAN MARBLE, 2017: W 58cm, H 95 cm, D 33 cm; SOLD

 

 

Mila

A particularly lovely piece of Portuguese marble, and one of the first bases that moved away from the rectangular.

Mila: PORTUGUESE MARBLE, 2017: W 54 cm, H 76 cm, D 15 cm; SOLD

 

 

Cornula

I have tried variations of this theme. Here the section is a trefoil and the twist quite gentle. I like forms that loop and trap the eye for a moment.

Cornula: CARRARA MARBLE, 2017: W 62cm, H 62 cm, D 10 cm; SOLD

 

 

Sesillo

I vacillate between very regular forms and those that are less so. This sculpture was undecided for a while before I found this solution. I like it when a sculpture really is a voyage of discovery.

Sesillo: CARRARA MARBLE, 2017: W 58cm, H 58 cm, D 11 cm; £8,900

Elias

Elias has a change of direction. There were square edges that I took against and am happy I did. Now with softer lines I could concentrate on the balance alone.

Elias: PORTUGUESE MARBLE, 2016: W 70cm, H 91 cm, D 19 cm; SOLD

 

 

Tamasan

Here the ring wobbles and the balance is sought from an unbalanced beginning. I had a real fight to make it work and now love the result.

Tamasan: PORTUGUESE MARBLE, 2015: W 100cm, H 98 cm, D 11 cm; SOLD

 

 

Carlow

Ideas often lead to variation. In ‘Carlow’ the structure used in ‘Galvano’ was reduced to points. The angular mechanical edges give way to soft undulation.

Carlow: CARRARA MARBLE, 2016: W 58cm, H 75 cm, D 13 cm; £7,500

 

 

Lynaeus

At least twenty years ago I carved this pattern in a relief carving. I wanted to try the pattern wrapped around a sphere.

Lynaeus: PORTUGUESE MARBLE, 2015: W 34cm, H 49 cm, D 34 cm; SOLD


 

Paluno

Here, and even more tricky, I wrapped the same pattern seen in ‘Lynaeus’ around a ring.
Paluno: CARRARA MARBLE, 2015: W 56cm, H 74 cm, D 19 cm; £7,000

 

 

Galvano

This has a much more mathematical feel than most of my work. Actually the segments are marked out with string rather than with any fiendish mathematical calculation.

Galvano: CARRARA MARBLE, 2015: W 120cm, H 138 cm, D 18 cm; £18,000


 

Kotori

Here the twisting motif bends to form a saddle. Birds, weather vanes and horses come to mind.

Kotori: CARRARA MARBLE, 2015: W 76cm, H 46 cm, D 19 cm; £6,000  Kotori: CARRARA MARBLE, 2015: W 76cm, H 46 cm, D 19 cm; £6,000

 

 

Lunasa

Sculpture where there is no end to the flow interests me. The form circulates as do the forms upon the form. I was very glad to find a split piece of marble with natural rust staining, for the sculpture to sit on.

Lunasa: PORTUGUESE MARBLE, 2015: W 58cm, H 38 cm, D 18 cm; SOLD

 

 

Vanya

A larger version of ‘Lunasa’, sitting very happily on a rough piece of Tunisian Black Marble.

Vanya: CARRARA MARBLE, 2016: W 133cm, H 120 cm, D 40 cm; £25,000

 

Corinth

The twisting design adds tension to the ring and gives the sculpture power. I love the colouring on this marble.

Corinth: PORTUGUESE MARBLE, 2015: W 65cm, H 65 cm, D 15 cm; SOLD

 

 

Elverben

This is such a wonderful material to look at but very difficult to carve. The twisting design feels very different on the dark stone.

Elverben: TUNISIAN BLACK MARBLE, 2015: W 54cm, H 54 cm, D 12 cm; SOLD

 

 

Still Crenham

I wanted to try a circular form with the same patterning and a smaller hole. The difference, in size and shape on the inside to the outside, is correspondingly much greater.
Still Crenham: CARRARA MARBLE, 2015: W 61cm, H 79 cm, D 20 cm; SOLD

 

Fisk

I wanted to see how the twisting motif employed in ‘Corinth’ would work on a vertical form. I left the top rough (as well as a small section of the bottom) to remind us that it was made from a natural material. It brings to mind an ancient architectural remnant too.

Fisk: PORTUGUESE MARBLE, 2015: W 15cm, H 113 cm, D 15 cm; £5,500

 

Polette

These soft forms, joined to make a ring, bring to mind all sorts of good things to me. Boiled sweets, polished pebbles on the seashore, old bars of soap, coins worn smooth by countless pockets. The more I look, the more I see. This idea led on to ‘Gamelin’ (below).

Polette: PORTUGUESE MARBLE, 2015: W 50cm, H 66 cm, D 11 cm; SOLD

 

 

Sable

Here the discs are smaller up above, giving the sense that they are going right up into the sky.
Sable: PORTUGUESE MARBLE, 2015: W 65cm, H 93 cm, D 11 cm; SOLD

 

Gamelin

After focusing on making circular forms with touching segments, here I am trying to simplify things with just three forms. Making each form work in its own right - as well as touching the others - is tricky.
Gamelin: PORTUGUESE MARBLE, 2015: W 53cm, H 56 cm, D 14 cm; SOLD

 

 

Wineri

The loop with a twist. Rarely is a sculpture interesting from all sides. This one is, I believe.
Wineri: PORTUGUESE MARBLE, 2016: W 48cm, H 73 cm, D 32 cm; SOLD

 

 

Tamago

We look in inside this world and see a moon or sun. The inside form is balanced with the outer form.

Tamago: CARRARA MARBLE, 2016: W 66cm, H 73 cm, D 28 cm; £10,000

 

 

Falkinn

A new thought, playing with this heavy texture to animate a surface. This is the first time that I have employed these wisps - animating the surface. Suddenly the wedge form becomes bristling or scuttling.

Falkinn: PORTUGUESE MARBLE, 2016: W 28cm, H 23 cm, D 41 cm; £5,000Falkinn: PORTUGUESE MARBLE, 2016: W 28cm, H 23 cm, D 41 cm; £5,000

 

 

Fraenir

The texture, once more, giving enormous movement to this curling form.

Fraenir: PORTUGUESE MARBLE, 2016: W 38cm, H 47 cm, D 16 cm; SOLD

 

 

Friel

With its multiple forms falling, or perhaps rising up. Is it growing or cascading? I’m not sure.

Friel: PORTUGUESE MARBLE, 2016: W 32cm, H 246 cm, D 27 cm; SOLD

 

 

Pershar

Very gentle and smooth on one side, and aggressive on the other. I am happy to have introduced this element.

Pershar: PORTUGUESE MARBLE, 2016: W 39cm, H 66 cm, D 14 cm; £5,500Pershar: PORTUGUESE MARBLE, 2016: W 39cm, H 66 cm, D 14 cm; £5,500Pershar: PORTUGUESE MARBLE, 2016: W 39cm, H 66 cm, D 14 cm; £5,500

 


 

Menura

Flowing forms from constraint to liberty. Reminiscent of ‘Kotori’ and birdlike figuration.
Menura: CARRARA MARBLE, 2016: W 60cm, H 57 cm, D 23 cm; £6,500

 

 

Tor

The very start of a series of sculptures, exhibited at John Martin Gallery in 2014. The fitting together of two forms. Is it a figure? This is the simplest - and to my mind - one of the most satisfactory sculptures of the series.

Tor: PORTUGUESE MARBLE, 2013: W 40cm, H 115 cm, D 22 cm; SOLDTor: PORTUGUESE MARBLE, 2013: W 40cm, H 115 cm, D 22 cm; SOLD

 

 

Young Able

The first step away from the ‘alkathene joint’. The segments are separated from each other. Independent. They climb and twist.

Young Able: PORTUGUESE MARBLE, 2013: W 19cm, H 85 cm, D 18 cm; £4,800Young Able: PORTUGUESE MARBLE, 2013: W 19cm, H 85 cm, D 18 cm; £4,800

 

 

Glad Able

The segments get very small and thin towards the top. Trying to reach upwards.
Glad Able: PORTUGUESE MARBLE, 2013: W 29cm, H 145 cm, D 23 cm; SOLDGlad Able: PORTUGUESE MARBLE, 2013: W 29cm, H 145 cm, D 23 cm; SOLD

 

 

Torque I

The forms and symmetry of the void are nicely balanced here. I made a larger version of this a little later on.

Torque I: PORTUGUESE MARBLE, 2013: W 60cm, H 75 cm, D 15 cm; SOLD

 

 

Rushes ’O

This sculpture of joined segments leaves only a tiny hole in the middle. The strength and presence of the hole becomes as powerful as the forms themselves.