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 on: 01288 321 988

All prices are inclusive of VAT.

Many of the pieces below are sold, but if you are interested in commissioning a similar piece, please get in touch: info@williampeers.com or 01288 321 988.

To view sculptures that are available to buy, please click on the button below:

'Fanfare' exhibition, in situ at William Peers' studio, Cornwall


Current exhibition: ‘Fanfare’

15 new works in Carrara, or Portuguese, marble. Showing at Everard Read, London, from 8th –30th March, 2019.

Iksan

This sharp form grows out of the mass below – beautiful, but menacing too.

Iksan: CARRARA MARBLE, 2018: W 54cm, H 46 cm, D 23 cm; currently exhibiting with Everard Read, London


Hiru

The trumpet head makes the sculpture so playful. We half expect to hear a toot, or a fanfare.

Hiru: PORTUGUESE MARBLE, 2018: W 43cm, H 32 cm, D 25 cm; currently exhibiting with Everard Read, London



Kombu

I have enjoyed the results of earlier sculptures employing this trumpet shape. This is a large version, the trumpet itself being much bigger. There is a quizzical, and even comical element here.

Kombu: CARRARA MARBLE, 2019: W 76cm, H 71 cm, D 53 cm; currently exhibiting with Everard Read, London



Sol

If the circular forms do not meet, they can pass each other and resolve in trumpet forms. They seem to relate like brothers.

Sol: CARRARA MARBLE, 2018: W 41cm, H 79 cm, D 30 cm; currently exhibiting with Everard Read, LondonSol: CARRARA MARBLE, 2019: W 41cm, H 79 cm, D 30 cm; currently exhibiting with Everard Read, London



Seffi

These trumpet forms reach high. Although I discovered these forms as a handy way of interrupting a loop, they take on a quiet, different feel. Much more figurative and playful.

Seffi: CARRARA MARBLE, 2019: W 40cm, H 91 cm, D 21 cm; currently exhibiting with Everard Read, London



Otir

I have been thinking of a piece like this for a while. The looping forms balancing, but hanging below. If the form becomes a little figurative, it is reclining; relaxed.

Otir: CARRARA MARBLE, 2018: W 64cm, H 49 cm, D 27 cm; currently exhibiting with Everard Read, LondonOtir: CARRARA MARBLE, 2018: W 64cm, H 49 cm, D 27 cm; currently exhibiting with Everard Read, London



Eo

The curves are so tight here, whizzing round we seem to have escaped gravity and earthly concerns.

Eo: CARRARA MARBLE, 2018: W 45cm, H 70 cm, D 45 cm; currently exhibiting with Everard Read, LondonEo: CARRARA MARBLE, 2018: W 45cm, H 70 cm, D 45 cm; currently exhibiting with Everard Read, London


Voche

A continuous loop, but very light on top and balanced on a beautiful lozenge-shaped base – like a half-sucked sweet.

Voche: CARRARA MARBLE, 2018: W 48cm, H 10 cm, D 24 cm; currently exhibiting with Everard Read, London



Shio

The strong twist lends this sculpture springing, almost explosive, vitality.

Shio: CARRARA MARBLE, 2018: W 37cm, H 57 cm, D 15 cm; currently exhibiting with Everard Read, London



Shin

Animating this twisting form at both ends becomes a dance that reminds me of Spain.

Shin: CARRARA MARBLE, 2018: W 35 cm, H 38 cm, D 15 cm; currently exhibiting with Everard Read, London



Perisso

Here I have married two distinct forms, which is unusual for me. I must try it again.

Perisso: CARRARA MARBLE, 2018: W 37 cm, H 39 cm, D 15 cm; currently exhibiting with Everard Read, London



Miln

Here I have married two distinct forms, which is unusual for me. I must try it again.

Milne: CARRARA MARBLE, 2018: W 31cm, H 40 cm, D 8 cm; currently exhibiting with Everard Read, London


Girot

These soft forms balancing on each other are tricky to make look independent of one another, as they are made from one piece of marble.

Girot: CARRARA MARBLE, 2018: W 53cm, H 81 cm, D 19 cm; currently exhibiting with Everard Read, London



Krillo

Again, the interrupted ring. Here I have found resolution with a point and a fanning shape. I can almost hear her sing.

Krillo: CARRARA MARBLE, 2018: W 41cm, H 54 cm, D 13 cm; currently exhibiting with Everard Read, London



Farok

I love those Japanese paintings of waves. Formalised so as to become something new. Very active and leaping upwards with purpose.

Farok: CARRARA MARBLE, 2018: W 33cm, H 45 cm, D 15 cm; currently exhibiting with Everard Read, London



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; £14,000

 


Tulla

A double loop, almost touching along its length.

Tulla: CARRARA MARBLE, 2017: W 64cm, H 66 cm, D 14 cm; £13,000

 

 

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; SOLDTetsu: CARRARA MARBLE, 2017: W 46cm, H 73 cm, D 53 cm; SOLD



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; £8,000

 


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; £16,000Tasil: CARRARA MARBLE, 2017: W 65cm, H 83 cm, D 24 cm; £16,000

 

 

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; £8,800


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; SOLDTimolin: ITALIAN MARBLE, 2017: W 65cm, H 75 cm, D 23 cm; SOLD


 

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; £9,500

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; £8,200

 


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; £7,500



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; £20,000


 

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; £6,500  Kotori: CARRARA MARBLE, 2015: W 76cm, H 46 cm, D 19 cm; £6,500

 


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; £27,000


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; £6,000

 

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; £11,000



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; £5,500Falkinn: PORTUGUESE MARBLE, 2016: W 28cm, H 23 cm, D 41 cm; £5,500



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; £6,500Pershar: PORTUGUESE MARBLE, 2016: W 39cm, H 66 cm, D 14 cm; £6,500Pershar: PORTUGUESE MARBLE, 2016: W 39cm, H 66 cm, D 14 cm; £6,500

 


 

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; £7,200



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; £5,200Young Able: PORTUGUESE MARBLE, 2013: W 19cm, H 85 cm, D 18 cm; £5,200

 


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.

Rushes 'O: PORTUGUESE MARBLE, 2013: W 60cm, H 75 cm, D 15 cm; SOLD