William Peers' wall hung sculptures are made of stone and hang directly on the wall. Each sculpture has its own secure plate that screws to the wall and interlocks with a plate on the back of the sculpture. The fixing mechanism is easy, secure and invisible - it works effectively on almost all wall types, including stud.
Please click on the link below for a list of available sculptures. For prices, please contact: email@example.com or 01288 321 988.
This thin sheet ripples and shimmers on the wall. Very gentle undulations bring to mind landscapes seen from the air.
My goal with this sculpture was to carve the recirculation of energy. The flow of the eye over its surface has no end. Even at the edges the material is tucked underneath giving the feeling that it reappears on the other side. This containment pleases me.
This surface flows and folds like fabric. I am fascinated how fabric rumples in particular ways. To carve it badly, feels and looks all wrong. To carve it well leaves the surface looking as if it belongs.
The surface of the marble seems to be pulled towards the viewer. The skin of the marble appears to allow a certain minimum bend giving the illusion that it has a thickness.
The hard Portuguese marble becomes fluid as if pinched and pulled. Carving a skin is fascinating and behaves like cloth. The end result needs to look as if it could all be smoothed out again.
The flesh of the stone seems to be pulled forward towards us stretching tight round the edges.
This Portuguese marble sculpture is derived from a squashed ball. The surface area remains intact though the surface shape is changed. The forms flow from one to another easily and convincingly.
The marble hangs with gentle undulations. Each change in direction is punctuated by the stepping of the surface. The light catches each angle and behaves differently on each.
This natural rough surface stained with rust and time led to this work. The clean white bowl provides a startling contrast with the rough surface.
The form flows around almost like knotwork, but more irregular. The flow never ends. The form has a trough of gold leaf that flows round too. The gold is so strong. It has so much association.
A very similar sculpture to Wabi but with less depth lifting the middle away from the wall. The weaving form flows in and out so that the eye flows round too.
Here the channel flowing along the top of the weaving form is slighter. The impact of the gold is less than with Wabi and Emanate.
The form flows round and the surges are given formal structure like Japanese paintings of the sea and Leonardo drawings of water.
Similar in intention to Kasen. Here the root of each surge would seem to be behind somewhere. They curl upwards at their ending.
Purbeck Marble is extraordinary. You would never guess that such fine material would be found inside this coarse exterior. The scoop taken out reveals this, like a desert fruit.
Gaudier Brzeska was the inspiration for this sculpture. He modelled a pair of boys fighting where the limbs intertwine and overlap like pastry on a pie. This makes their limbs very passive, and their fight becomes more of an embrace.
As in Tregarrick the device employed is the animation of the surface with a pointed chisel. Here however the focus of each spiral is a smooth puff ball.
The Hornton stone is carved in drips. They drip in lines like some alien text. The brown stone seen beneath is the outer surface of the block which is always found like this - with a sheath of iron-stained stone.
The treatment of the stone in this way was a revelation. The dark voids being exposed by the carving of the front with a pointed chisel.
This sculpture was the starting point for a whole series of works. Carved entirely with a pointed chisel the surface of the Hornton stone is given flow. The flowlines spiral inwards towards a void and pull the eye in too.
Here the hard stone flows in great soft formed drips.
As in Merrion, the voids are ‘discovered’ as the front surface is worked. The strong wobbling line is lovely.
The circular dished area in the centre of this Hornton stone work spirals inwards, but the spiralling intention seems to become undecided as it nears the centre. The central area is becalmed like the centre of a storm.