Internationally renowned British sculptor Peter Randall-Page has spent over four decades exploring the intricate relationship between nature, geometry, and form. From monumental public commissions to deeply contemplative works like Seed at the Eden Project, his art bridges organic inspiration with mathematical precision. In this interview, Randall-Page reflects on his creative journey, his connection to India’s sculptural heritage, and the evolving possibilities of sculpture in contemporary public spaces.
Your sculptures reflect a deep connection with nature and organic forms. Was there a particular moment or experience that first sparked this fascination?
My fascination with nature and organic form stems from a deep personal connection to the natural world. Growing up as an only child in a rural part of England, surrounded by natural beauty, I developed a permanent sense of wonder. I marvelled at many aspects of organic form—texture, shape, and material.
Later, I became interested in understanding the underlying principles governing the forms and patterns that nature produces, which led me to the study of mathematics, particularly geometry.
How does your sculpture Seed at the Eden Project convey the relationship between nature and human experience? What role does the concept of growth play in your work?
The Eden Project in the UK focuses on showing how important nature is—not just for us, but for the planet as a whole. When I was asked to create a sculpture for the site, I wanted to make something big and meaningful, something that would be treated with a sense of respect. Seed isn’t based on any one type of seed—it’s meant to represent the idea of a seed itself, full of potential and symbolic meaning. The design is based on a natural pattern called spiral phyllotaxis, which is one of the most beautiful and complex ways plants grow.
You’ve worked extensively in public spaces across the UK and internationally. How does location influence the conceptualisation of your sculptures? How do you see this translating to an Indian context?
Outside the clean, neutral space of a gallery, a sculpture is never just on its own—it’s always connected to the place around it. When I’m working on something for a specific site, the location really matters, whether it’s in a city or the countryside, in a formal setting or a more casual one. The sculpture needs to fit the space in terms of size, materials, and its cultural or historical background. I try to create a connection between the sculpture and the place, so that together they feel more complete—like they belong to each other.
Your Rock Music, Rock Art project in Uganda explored both the cultural and natural landscape of the region. Did you find any parallels between your experiences there and the artistic traditions of India?
The Rock Music, Rock Art project, held on Lolui Island in Lake Victoria, Uganda, centred on the cultural significance of the natural landscape. The rock formations—naturally stacked and finely balanced—could be struck to produce resonant, musical sounds and had been used in this way since prehistoric times. The connection between culture and landscape is at once unique to each region and a universal human impulse. This same synthesis can be found in many Indian traditions as well.
You studied at the Bath Academy of Art and worked with Barry Flanagan early in your career. How did these experiences influence your artistic direction?
Studying at Bath Academy of Art and working with Barry Flanagan were key moments in shaping my journey as an artist. At Bath, I learned how important it is to experiment and started exploring how form, material, and space work together. Barry had a playful, poetic way of making sculpture that really stayed with me. He trusted his instincts, and that inspired me to trust my own too.
India has a rich tradition of stone sculpture, from temple carvings to contemporary public art. Have you engaged with Indian sculptural traditions, and do you see any intersections with your own practice?
I have long drawn inspiration from India’s cultural and spiritual heritage, particularly its deep tradition of stone sculpture. As a young artist visiting museums in London and abroad, I was especially drawn to Indian sculptures with patterned surfaces carved in low relief on organic forms. This left a lasting impression on my work. More recently, I visited several temples and monasteries cut directly into the living rock—these sacred, carved spaces possess a powerful atmosphere that has stayed with me. Indian art’s fusion of the spiritual and the physical resonates deeply with my own aspiration: to transform stone into something timeless and expressive.
Your work explores the interplay between nature and geometry. How does this theme manifest in your recent collaboration with Art Soiree by Indian Stone company StoneX?
I’ve been working with stone for nearly fifty years, and my respect for its physical and expressive qualities remains undiminished. Joining StoneX’s inaugural Art Soiree marked an inspiring beginning to our collaboration. Interacting with artists, architects, and the StoneX team—was deeply enriching. Their advanced technology opens up new possibilities for achieving subtle sculptural goals without sacrificing poetic expression.
What advice would you offer to emerging sculptors—particularly in India—who are exploring the fusion of organic forms and abstract geometry in their work?
I’m not one to tell young artists exactly what path to take, but I would encourage them to experiment with different materials and techniques to find what truly speaks to them. Stay curious, be open to change, and stick to your own vision. Blending organic forms with abstract geometry can lead to work that feels both deeply personal and widely meaningful.
