A single shard of bone, light yet strong. That’s how it began, the Knife Edge Two Piece sculpture. Here, before the Houses of Parliament, stands this monumental bronze, a familiar face on television screens worldwide. Henry Moore, the artist, envisioned it rising over ten feet tall, large enough for a person to walk between its two elements. He saw this space not as a void, but as a dynamic interaction, “like two sliding doors,” he said, constantly shifting perspectives as you move around it. Moore, a Yorkshireman born in 1898, had a particular fondness for this location. He felt the sculpture would be lost in the vastness of Hyde Park. He preferred this intimate setting, where people could sit and contemplate the art. He even likened the gardens favorably to the setting of the Charles I statue at Charing Cross. The Knife Edge Two Piece, finalized between 1962 and 1965, had humble beginnings. Moore crafted ten small working models, now scattered in public collections from London’s Tate Gallery to Zurich’s Kunsthaus. From bone fragment to monumental bronze, the journey of the Knife Edge Two Piece reflects Moore’s fascination with natural forms, magnified and abstracted to command our attention. Donated to the nation in 1967, its sharp edges slicing through the air, it has become an integral part of this historic landscape. It even survived a period of neglect and disrepair, undergoing a much-needed restoration in 2013, thanks in part to the Henry Moore Foundation. Today, the Knife Edge stands proud, a testament to the power of art in the public realm. It serves as a backdrop to political debates, a silent witness to history unfolding. And it all started with a piece of bone.
Southfields Methodist Church
Curiosity stirred within the heart of Southfields as a new chapter began. Southfields Methodist Church held its first public service