Hill-top artworks
There are many public sculptures in towns and villages, but few have been commissioned from contemporary artists for hill-tops in the region. If any such are encountered by chance, they can either be a welcome surprise or, for the purist, appear as an annoying irruption into unspoiled countryside. The examples below, which all require some effort to reach, exclude established formal monuments such as Wainman’s Pinnacle, Cracoe Obelisk, or fancy view-indicators.
The atmospheric three cell-like structures comprising ‘Clougha Pike Chambers’ (554596) in the north-western edge of the Forest of Bowland were created by the internationally acclaimed artist Andy Goldsworthy between 1999 and 2001. They work effectively to cast a spell in this particularly remote location. Quernmore, Morecambe Bay and Lakes tops are visible in good weather. There are two small car parks nearby; an alternative start from Jubilee Tower lies a little further afield. In all cases a fairly tough walk in the high Bowland fells is to be expected.
‘Water Cut’ by the renowned stone carver Mary Bourne is one of the ten Eden Benchmarks set by the river all the way down to Carlisle. This one is on Lady Anne’s Way, on the eastern side of Mallerstang at 786991; a gap between two attractively curved limestone pillars offers a framed prospect of the river valley and beyond. There is parking space on the roadside by the Thrang between Moorcock Inn and Nateby. Continuing the walk on to the waterfall at Hell Gill Bridge, or even braving a hike up Wild Boar Fell, are recommended extensions.
The ‘Stanza Stones’ by Simon Armitage are a different type of sculpture: six carved poems reflecting on the role of water across the rugged Pennine watershed between Marsden and Ilkley. The words were carved into gritstone boulders by Pip Hall and Wayne Hart in 2012. The current Poet Laureate hopes the Stones will “act as beacons of inspiration” while encouraging people to explore the moors. There are subtle waymarks at key junctions. The Beck Stone on Ilkley Moor is a mere half mile from one of three starting places; a few hundred yards further on there is a welcome seat fashioned by local drystone-waller Nick Ferguson. An attractive trail guide (ISBN 978-0-9572349) provides much information, but not grid references, and includes various suggested walks; the booklet may, however, be difficult to find nowadays.
‘Coldstones Cut’ by Andre Sabin, beside the road between Pateley Bridge and Grassington at 127642, is the largest public artwork in the region. At 1400 feet it overlooks the huge active quarry at Greenhow Hill and comprises monumental winding ‘streets’, with viewing platforms providing panoramic prospects of Nidderdale’s surrounding moorland. A car park is available at the adjacent Toft Gate, and a short stroll along the main road brings you to the tempting Toft Gate Barn café. The Cut could form a focus for various walks south-west of Pateley Bridge or when enjoying parts of the nearby Nidderdale Way.
Jim Vickery