I Once Went Down to The Sea Again brought eleven of these sculptures together for the very first time, alongside are a selection of previously unseen sketches, drawings, and ephemera allowing us to expand on a specific part of his incredible practice.

With their minimalist approach—simple base, vertical pole, and balancing stone—these sculptures embody the zenith of Wyllie's life's work where his practical expertise, material language and conceptual rigour successfully meet. Initially modest, they evolved over-time into large-scale public artworks, celebrating the ordinary rather than the heroic act.

In his own words:

The Spire is designed to celebrate the place on which it stands. Beyond that, its importance is of no importance. It can define any space or presence taken for granted and signify them important.

As the series progressed the artworks continued to mark significant moments in Wyllie’s life; whether honouring his friend Beuys on Rannoch Moore, advocating for Irish unity, or remaining dismantled in the boot of his car ready for construction wherever the need arise, Wyllie’s Spires remind us to look for balance wherever it may be found.