Yorkshire Sculpture Park TEACHER RESOURCE PACK Poppies: Wave 5 SEPTEMBER 2015–10 JANUARY 2016
ABOUT WAVE AND WEEPING WINDOW 14-18 NOW and Yorkshire Sculpture Park present Wave as part of a UK-wide tour of the iconic poppy sculptures.
Wave is a sweeping arch of bright red poppy heads suspended on towering stalks; Weeping Window (to be shown at Woodhorn Museum, Northumberland / 12.09.15–1.11.15 and St George’s Hall, Liverpool / November 2015–January 2016) is a cascade comprising several thousand handmade ceramic poppies seen pouring from a high window to the ground below. These two sculptures, by artist Paul Cummins and designer Tom Piper, marking the centenary of the outbreak of war, are now brought to audiences at venues across the country as part of the 14-18 NOW programme. As with all of 14-18 NOW’s projects, the presentation of these sculptures to new audiences across the United Kingdom aims to prompt a new, nationwide dialogue around the legacy of the First World War. The breathtaking sculptures were initially conceived as the key dramatic sculptural elements in the installation Blood Swept Lands and Seas of Red at the Tower of London in the autumn of 2014. Over the course of their time at the Tower, the two sculptures were gradually surrounded by a vast field of ceramic poppies, each one planted by a volunteer in memory of the life of a British and Colonial soldier lost during the First World War. In their original setting they captured the public imagination and were visited by over five million people. The original installation was conceived of as transitory, the sea of poppies growing in size until the final one was planted on 11 November 2014. On completion, however, it was agreed that the works of art at the heart of this broader act of memorial should be preserved for the nation. 14-18 NOW is grateful to the Backstage Trust and Clore Duffield Foundation for their support in securing these sculptures for posterity. For the remainder of the 14-18 NOW programme, Wave and Weeping Window will be on view at selected locations around the United Kingdom. They will then be gifted to the Imperial War Museums and displayed during the autumn of 2018 at IWM North and IWM London. Wave is from the installation Blood Swept Lands and Seas of Red. Poppies and original concept: Paul Cummins. Installation design: Tom Piper. By Paul Cummins Ceramics Limited in conjunction with Historic Royal Palaces at HM Tower of London 2014. WAVE AT YSP The siting of the Wave at YSP has responded to the natural environment of the Lower Lake, with the Poppies seeming to move amongst the grasses, rising from the water. The reflections, changing light and natural surroundings all affect how we perceive the artwork.Wave will change with the seasons, the weather, the light and the cycles of nature from which it emerges. It is difficult to experience the work without noticing the sound, movements and colours of nature and in a state of quiet, peaceful contemplation. Although one artwork, Wave comprises thousands of separate ‘units’ – the poppy; each unique, made by human hands, but also uniform, playing its part in the creation of one ‘form’ – the wave. The red poppies seem to jostle together, rising in a dynamic wave. Wave is in suspended animation; the power of a wave captured in a moment. A parallel can be drawn with the poppies in Wave and the individual soldier, each part of a greater whole. We are reminded of each individual soldier; of many within his battalion, reaching ‘over the top’ and into battle. From the different viewpoints,Wave seems at times to be rising into a disappearing crest and, at others, falling and spilling into the Lower Lake. Framed by the beautiful setting of the water, the bull rushes and reeds, the magnificent vista and historical architecture, it is impossible not to see the poppies in relation to nature; of life and renewal.
VISITING WAVE Wave is presented in YSP’s historic Lower Lake, a 1km walk from YSP Centre and car park or 0.7km from YSP Learning. Wave can be accessed easily from YSP Learning with clear signage to Cascade Bridge and Lower Lake. Viewing numbers may be restricted at peak times. It is therefore essential that all self-directed visits are booked in advance. We recommend a preliminary visit by group leaders, particularly if bringing a group to YSP for the first time.
Please note, a £15 group booking fee is charged per 60 pupils/students for self-directed visits. This fee includes parking for one coach or minibus(s) and the use of a lunchroom during term time depending on availability. A £10 group booking fee is charged to groups of 13 pupils/students or less and the booking fee is waived for SEN groups.
Groups wanting to come on a self-directed visit will need to book online at: ysp.co.uk/selfdirectedvisits.
Please contact YSP Learning Administrator, Richard Walton on +44 (0)1924 832528 or email: [email protected] if you have any questions or require support in making your booking.
Suggestions for pre-visit, on-site and extended activities back at school are provided below. A Family Activities leaflet also accompaniesWave and includes practical activity ideas which teachers may find useful. This can be downloaded from ysp.co.uk/families or picked up at YSP Centre Information Desk. SCHOOL WORKSHOP AND TOURS OFFER AT YSP YSP offers a programme of artist-led Workshops and Tours for school groups, which can be designed to incorporate a visit to Wave. Further information on our Workshops and Tours programme can be found at ysp.co.uk/workshopsandtours
Wave Enhanced Tour Between October and January 2016, we will also be offering an Enhanced Tour specifically linked to Wave. Our Enhanced Tours last up to two hours and explore the open-air sculptures through practical, making activities, including drawing and clay work. Our Wave Enhanced Tour is a great opportunity for children to explore the ideas and processes involved in the production of Wave and to create their own artworks in response.
Artist-led Workshop: Poppies Memento Artist and designer Harriet Lawton is offering a limited number of full-day workshops for schools which will explore Wave through drawing and making in the landscape, followed by sculpture making in our YSP Learning studio space. Pupils will create their own mixed-media poppy head using wire, paper, collage and text which will become part of an installation celebrating the poppy’s life cycle and our collective sense of memento. The workshop can be adapted to be appropriate for KS1, KS2 or KS3 groups with a maximum of 30 pupils per group. Available on the following dates: Tuesdays 10.11.15, 17.11.15, 24.11.15 10.00–14.00 (times can be flexible) £185 + VAT Further information and a Session Plan can be downloaded from ysp.co.uk/workshopsandtours For enquiries about this workshop offer, please contact Kathryn Welford, Formal Learning Coodinator, on +44 (0)1924 832540 or email: [email protected]. To make a booking please contact Richard Walton, Learning Administrator, on + 44 (0)1924 832528 or email [email protected]. This resource is intended to support teachers in planning their self-directed visits.
BEFORE YOUR VISIT • Have your pupils heard of, or seen, the installation of Blood Swept Lands and Seas of Red? Show pupils pictures from the installation at the Tower of London. How do they think it has been made? How does it make them feel? Ask them what it could be about, before introducing the concept of the First World War • Encourage pupils to research the installation Blood Swept Lands and Seas of Red at the Tower of London • Introduce the idea of artists creating art for a particular place and the fact that an artwork changes depending on where it is sited Web links relating Blood Swept Lands and Seas of Red at The Tower of London youtube.com/watch?v=58aX_EBwzr4 youtube.com/watch?VZPoyTiJJc hrp.org.uk/TowerOfLondon/poppies hrp.org.uk/TowerOfLondon/stories/firstworldwar 1418NOW.org.uk/poppies mirror.co.uk/news/uk-news/inside-ceramic-poppy-factory-workers-4034309
Weblinks relating to the First World War Imperial War Museum – iwm.org.uk/history/the-pals-battalions-of-the-first-world-war National Coal Mining Museum – ncm.org.uk Experience Barnsley – experience-barnsley.com/archives-and-discovery-centre British Legion – britishlegion.org.uk BBC – bbc.co.uk/ww1
Resources for Primary Schools: bbc.co.uk/newsround/28585905 Resources for Secondary Schools: bbc.co.uk/schools/0/ww1/25826265 DURING YOUR VISIT At YSP we believe that children engage best with an artwork when they are given the tools to explore for themselves, to ask questions, to recognise their own responses and find their own meanings. Exploration may begin with what they can see, touch, hear and experience. What is the installation Wave made up of? What colours, shapes and forms can you see? What materials do you think have been used? How do you think it has been made? How would you describe the poppy stems? How would you describe the individual poppies? Do all the poppies look the same? How would you describe the shape of Wave? Try and look at, or approach, Wave from different positions, i.e. from the bridge, from the banks of Lower Lake. Does Wave seem to be rising from or spilling into the lake? Describe the movement in Wave. What else do we experience? What are the sounds, the sensations? What else is happening around Wave? Draw attention to the reflections, the wildlife, the views and the environment which form part ofWave . Do you think these are also part of the artwork?
Ask pupils to describe their responses: • How does Wave make you feel? What does it remind you of? What do you like or dislike? • How is Wave different at YSP than as part of Blood Swept Lands and Seas of Red at the Tower of London? Does if ‘feel’ different or evoke different feelings? Is it quieter, less spectacular and more contemplative? • What is the effect of seeing so many poppies together? How have the poppies been positioned? What effect does this have? • Look closely at the reflections. What shapes are formed? How do the reflections make you feel? • How do the stems change as the poppies rise from the water? What words would you use to describe the stems? What do the tangled stems remind you of? • How does it feel to be on Cascade Bridge or by the banks of the Lower Lake? How does nature or the surroundings affect our experience of the artwork? Do you think Wave blends in or intrudes with what’s around it? Why? • How could the installation relate to the experience of the soldier in the First World War? On-site Activities: • Find a place to draw Wave. Try to capture the flow and energy of the artwork, focusing on the overall form rather than individual poppies. Use sweeping pencil marks, varying tone and weight to capture the three-dimensional qualities. • Try to capture the tangled chaos of the stems as they rise up to Cascade Bridge. Use quick pencil marks. Draw for a minute or so before looking at your paper. Have you captured the effect? • Use a viewfinder to focus on one small area ofWave or look closely at one or two poppy heads. Examine the shape and movement of the petals and draw in one continuous line. • How many different reds and browns are there? Children can experiment with colour-mixing to see how many ‘reds’ they can create – from an almost black-red to a pale wash. Use the paper as a test sheet, creating circular pools of red. • Pay attention to the shadow reflections in the water from the flora and fauna around Wave. Take a minute’s silence to observe, listen and contemplate. Afterwards, children write or describe to their partner what they noticed. • Make a collection of words and phrases that describe Wave and how it makes you feel. These can be inspiration for creating a poem about Wave back at school. • Using A4 red paper, draw two outlines of a three-petal poppy on one sheet, based on observation of the poppies you can see. Cut out the shapes and, using a split pin, join them together to create your own paper poppy. Collect words or thoughts by writing on the poppy petals, or add details through drawing.
Wave as part of a Sculpture Walk As part of your visit, you may wish to see other nearby artworks which connect with Wave and are easily included on your walk. Antony Gormley, One and Other, 2000 Comparison can be made between the individual figure and the thousands of symbolic poppies. Here, ‘everyman’ is represented as a recognisable human form. The figure inOne and Other could be anyone as it has no individual features. The sculpture looks over Lower Lake from on high. Can you imagine One and Other’s view of the poppies? Tom Price, Network, 2013 Compare this individual to the figure in Antony Gormley’sOne and Other. Consider the contemporary experience of constant communication in comparison to the opportunity for quiet contemplation which the Wave provides.
How do we receive news today? Alerts on our smart phone perhaps? Other ways of getting the news include radio, television, newspapers and social media. How did soldiers in the First World War get the news or communicate with their loved ones? Magdalena Abakanowicz, Ten Seated Figures, 2010 Similar to Wave, Ten Seated Figures uses multiples to create one sculpture. Although very similar, each figure is unique. Abakanowicz is from Poland and lived through the Second World War as a refugee. Her work explores ideas of individuality and uniformity, resilience and survival. We can compare the stillness of Ten Seated Figures with the implied movement of Wave and how victims of war can be represented in different ways. Dennis Oppenheim, Trees (From Alternative Landscapes Components), 2006 How do Wave and Trees look similar? How are they different? How does each sculpture ‘belong’ to the landscape in which it is sited? Oppenheim is interested in issues around the environment and waste. How do both sculptures explore ideas about renewal and making life better for future generations?
BACK AT SCHOOL • Discuss and discover what your pupils thought about Wave, after their visit. Responses can be written on paper poppies and, with wire, put together to create a class installation in the classroom or school grounds. What form can all the individual sculptures make when installed together? • Create a series of poems about Wave, using the words or observations generated from your visit. Perhaps the words might take a shape and the poem become a word-picture • Find an area in school to plant poppies. When they flower, encourage your pupils to consider them as both a form of remembrance and as plants in themselves; research how they grow and use them as inspiration to draw from • What do pupils like to remember from their own lives? What mementoes or souvenirs do they keep of people or places? Discuss these in class and why they are important
SUGGESTED THEMES AND CURRICULUM LINKS
History: First World War, local history and individual stories, role of commonwealth soldiers.
Citizenship: Rituals of commemoration and remembrance, individualism and choice.
Science: Lifecycles in nature, water and waves, plants.
Literacy: The First World War poets, memory writing, biographies.
Art: Installation art, craft and ceramic art, the war artists and representations of war, propaganda and anti-war art, multiples, art and nature. BACKGROUND INFORMATION ON WAVE Wave is part of the 14-18 NOW cultural programme, taking place across the United Kingdom to mark the centenary of the First World War.
Perceptions of the war have been shaped to a great extent by the artists of the time, including poets, writers, painters, sculptors, photographers and film-makers, many of whom served, and who reflected on the war and its effects. Their work had a profound and lasting impact.
Now, one hundred years later, 14-18 NOW has invited contemporary artists from the UK and around the world to explore the resonance of the First World War today.
Working with cultural organisations across England, Wales, Scotland and Northern Ireland, 14-18 NOW commissions large-scale special projects. These are selected to encourage people from every community to reflect on how the First World War has shaped today’s world and our attitudes to conflict now. Events are taking place on both a national and regional scale, across all art-forms and digital media.
14-18 NOW is an independent programme hosted within Imperial War Museums and receives public funding from the National Lottery through the Heritage Lottery Fund and Arts Council England.
WAVE Wave is from the installation Blood Swept Lands and Seas of Red. Poppies and original concept: Paul Cummins. Installation Design: Tom Piper.
The Artist – Paul Cummins paulcumminsceramics.com Paul Cummins is a ceramic artist from Chesterfield, Derbyshire, who produces ceramic installation pieces in the landscape. He started out as a maker of architectural models before studying Ceramics at the University of Derby’s College of Arts. He has completed a number of high profile commissions both nationally and internationally, including work for Chelsea Flower Show, Chatsworth House and Blenheim Palace.
From his studio in Derbyshire, Cummins creates bold, exuberant flower forms with vibrant glazes, combined with raw steel and wire. Cummins’ studio was used by a team of people to produce the poppies for Blood Swept Lands and Seas of Red. In recognition for the success of the work, Cummins was awarded an MBE in the 2015 New Year’s Honours for ‘Services to Art and First World War Commemoration’
The Designer – Tom Piper tompiperdesign.co.uk Tom Piper was born in London and studied Biology and Art History at Trinity College, Cambridge, before studying Production Design at the Slade School of Fine Art. He began his career in Theatre and regularly collaborates with various directors, including Michael Boyd and Sam Mendes. He has been Associate Designer for the Royal Shakespeare Company since 2004. Tom collaborated with the British Museum and Alan Farlie Architects on the exhibition Shakespeare: Staging the World in 2012 as part of the Cultural Olympiad. His many awards include an Olivier Award for Costume Design for the Histories Series and an MBE for his ‘Services to Art and First World War Commemorations’
THE FIRST WORLD WAR In Britain, the First World War began on 4 August 1914 and ended on 11 November 1918. The First World War, also known as the Great War, was fought between the allies (Britain, France, Russia and from 1917 the USA) and the central powers (Germany, Austria-Hungary and Turkey). Huge armies deployed new weapons to devastating effect. Over nine million soldiers and an unknown number of civilians lost their lives. Empires crumbled, revolution engulfed Russia, and America rose to become a dominant world power. The fighting ceased at 11am on 11 November 1918, which for Britain, France and America became the time when the people who died in the war are honoured.
A Global Conflict Battles took place in many locations: at sea, in Turkey, in the Middle East and Africa, in Eastern Europe and in the infamous trenches of Western Europe. Millions of men died in terrible conditions. Over one million ethnic minority troops contributed to the British Allied Forces. Wherever British had established colonies, local regiments were formed and went on to serve across the world. Troops came from India, Africa and the Caribbean to join others from Canada, Australia and New Zealand, strengthening the Allied Forces immeasurably. Both British and Colonial soldiers are commemorated in Blood Swept Lands and Seas of Red.
The Battle of the Somme The Battle of the Somme, which began on 1 July 1916, saw 19,000 British troops lost on that first day alone – the highest number of deaths ever known, before or since, on a single day of battle. The fighting raged for five months and poor weather, including snow, finally stopped the Somme offensive on 18 November 1916. Altogether, on all sides, 1,120,000 soldiers were killed at the Battle of the Somme, with the allies gaining just 12km of ground. Going ‘over the top’ at the Somme was often the first taste of battle for many soldiers, rising from the trenches to face several different weapons, including mines, poisonous gas, barbed wire and machine guns. Many of these were volunteer soldiers from Pals battalions, who had enlisted to show their patriotism for King and Country.
Pals Battalions and Local Histories Pals battalions were made up of men from the same villages or towns, factories or work places, who enlisted to serve together. The British government realised that local ties could be harnessed for national gain and that many more men would enlist if they could serve alongside friends, relatives and workmates. Rallies and enlistment stations took place at pits, factories and mills in Northern towns. The battalions suffered catastrophic losses, with whole units dying together, leaving their close-knit communities at home devastated.
A battalion consisted of about one thousand men. In Yorkshire, there were two Barnsley Pals battalions, both of whom took part in the first day of the Battle of the Somme. Of the 900 Leeds Pals taking part on the first day of the Battle of the Somme, only 150 survived. Similarly, from the Bradford Pals 1,000 out of 1,300 men died at the Battle of the Somme. Some industrial workers, including miners, became exempt from fighting in the war, as coal production became a vital part of the war effort at home.
RELATED ACTIVITY
Explore Research the impact of the First World War on your local community. Was there a local Pals battalion? Did they fight in the Battle of the Somme? What may a soldier from a local Pals battalion have experienced?
Ask family members if any relatives fought in the First World War or contributed to the war effort on the Home Front. How were they affected by war?
Think How do you think Wave relates to the experience of war? How does it relate to ‘going over the top’ or experience on the battlefield?
Do Imagine one of the poppies in Wave is an individual who fought in the first day of the Battle of the Somme. Tell the story of the poppy, from battlefield to the Lower Lake. POPPIES AND REMEMBRANCE The poppy has a long association with Remembrance Sunday and Armistice Day (November 11). The poppy’s origin as a popular symbol of remembrance lies in the landscape of the First World War. Poppies were a common sight on the Western Front as they flourished in soil churned up by the fighting and shelling. Though delicate in appearance, the poppies were resilient, growing in their thousands and turning the muddy landscape into a sea of red.
Serving in Ypres in 1915 and mourning the recent loss and burial of a close friend, Canadian doctor John McCrae was inspired by the poppies to write his poem ‘In Flanders Fields’
In Flanders fields the poppies blow Take up our quarrel with the foe: Between the crosses, row on row, To you from failing hands we throw That mark the place; and in the sky The torch; be yours to hold it high. The larks, still bravely singing, fly If ye break faith with us who die Scarce heard amid the guns below We shall not sleep, though poppies grow In Flanders fields. We are the Dead. Short days ago We lived, felt dawn, saw sunset glow Loved and were loved, and now we lie In Flanders fields.
In response to McCrae’s poem, American humanitarian Moina Michael wrote ‘and now the torch and poppy red, we wear in honour of our dead’ and campaigned to make the poppy a symbol of remembrance of those who had died in the war.
Artificial poppies were first sold in Britain in 1921 to raise money for the Earl Haig Fund in support of ex-servicemen and the families of those who had died in the conflict. They were supplied by Anna Guerin, who had been making hand-made poppies of red silk in France to raise money for war orphans. Selling poppies proved so popular that in 1922 the British Legion founded a factory, staffed by disabled ex-servicemen, to produce its own. It continues to do so today.
Other charities sell poppies in different colours, each with their own meaning but all to commemorate the losses of war. White poppies symbolise peace without violence and purple poppies are worn to honour animals killed in conflict.
The poppy in Britain is therefore a powerful symbol of remembrance and hope for everyone affected by conflict both in the past and present. Tiny forget-me-not flowers are worn as symbols of remembrance in Newfoundland and Labrador, Canada, to commemorate casualties from the Royal Newfoundland Regiment during the Battle of the Somme. Rosemary has also been a symbol of remembrance from Ancient times. Even today, Australians show their respect by wearing small sprigs of rosemary in their coat lapels on ANZAC Day (Australian and New Zealand Army Corps). In France, the blue cornflower (Bleuet de France) is used symbolically rather than the poppy.
RELATED ACTIVITY
Explore What other familiar symbols do you know? What do they represent? Think about flower symbols or political or religious symbols. Find out where they came from and why they are important.
How else do we remember events from the past? Think about memorials, plaques, or other rituals and special occasions.
Think Why do you think people need to remember? Why do you think the poppy is such a powerful symbol?
Do Walk around your local area and map out ‘sites of remembrance’. These could be anything from a war memorial to a gravestone or bench. How can an area be mapped for positive or personal memories, i.e. where you first learnt to ride a bike. What story can these maps or ‘memory points’ tell? WAVE IN A BROADER ART CONTEXT There are similarities between Wave and the work of other artists in terms of its use of repetitive elements or ‘multiples’. It may also be interesting to look at artists who produce installations or site-specific artwork and artists who use flowers as a subject matter or material for their artwork.
Suggested artists to look at: Cornelia Parker, Antony Gormley, and Anya Gallaccio
Antony Gormley, Field, 1989–2003 I wanted to work with people and to make a work about our collective future and our responsibility for it. I wanted the art to look back at us, its makers (and later viewers), as if we were responsible - responsible for the world that it (Field) and we were in. Antony Gormley.
Field is made from 125 tonnes of clay and comprises 210,000 small figures, which completely occupy the space in which they are installed. Each figure is handmade by separate individuals and the simple body shape has just two holes denoting eyes. The viewer has to look from a much smaller, empty viewing area as the figures ofField fill their given space. Field has been installed in different settings and re-made in different countries, including here at YSP.
Anya Gallaccio, Red on Green, 1992 Much of Gallaccio’s work uses organic materials, with fruit, vegetables and flowers all featuring in her work. These materials often undergo a change during the course of their being exhibited. In Red on Green (1992), ten thousand rose heads were placed on a bed of their stalks, filling a gallery floor like a carpet. Gradually, the rose heads withered, turning from red to brown as the exhibition progressed.
Cornelia Parker, War Room, 2015 Cornelia Parker’s work is concerned with formalising things beyond our control; containing the volatile and making it into something that is quiet and contemplative like the ‘eye of the storm’. Her work allows the viewer to witness the transformation of the most ordinary objects into something compelling and extraordinary.
For War Room at the Whitworth Art Gallery, Manchester, Parker created a ‘walk-in’ piece where visitors were surrounded from floor to ceiling, and above their heads, with lengths of hung red paper. The paper was the same as that supplied to the Royal British Legion in the production of poppies for their poppy appeal. However, Parker used the left-over remnants, the negative shape of the poppies pressed out of the paper. The installation created a uniform, rhythmic pattern of poppy-shaped holes, surrounding the viewer in red.
Artists and War It is also interesting to compare Wave and Blood Swept Lands and Seas of Red with the work of other artists who have addressed the subject of the First World War.
Artists to look at could include: Henry Moore, Charles Sargeant Jagger, C.R.W. Nevinson, David Bomberg, Umberto Boccioni, Henri Gaudier-Brzeska, Mark Gertler, Paul Nash, Stanley Spencer, Frank Dobson, and Wyndham Lewis.
Many influential and important visual artists died during the First World War, including Augustus John and Egon Schiele.
RELATED ACTIVITY
Explore Research the work of some of the artists listed above. How are their views on war expressed through their art? How are their materials, processes or views different to those expressed inWave ?
Research different artists who produce installations rather than ‘art objects’. How are the settings for these installations part of the work and affect how we experience it?
Japanese artist Katsushika Hokusai’s produced prints and paintings of waves; his most famous being The Great Wave off Kanagawa, 1829-32. What are the similarities between this artwork and Wave at YSP? Can you find any other artists who have made work about waves?
Think How do art works produced during the First World War differ from more recent or contemporary depictions of war? Are photography or film more powerful media for representing such an emotive subject? What does an installation such as Wave achieve, that a photograph could not?
What effect does siting an artwork in the landscape have, as opposed to placing it in a gallery or on a plinth in a public square?
Do Produce an artwork which represents a view or aspect of war but without depicting conflict directly. Do not include any images of violence. How can you use symbolism, form or colour and perhaps a particular setting to express your ideas?
Contact Information
Yorkshire Sculpture Park, West Bretton, Wakefield, WF4 4LG +44 (0)1924 832631 [email protected] ysp.co.uk
To find out more or to make a workshop booking contact the YSP Learning Team on +44 (0)1924 832528 or [email protected]
Wave is from the installation Blood Swept Lands and Seas of Red – poppies and original concept created by artist Paul Cummins and installation designed by Tom Piper – by Paul Cummins Ceramics Limited in conjunction with Historic Royal Palaces, originally at HM Tower of London 2014. Photos Nigel Roddis.