The 'Millennium Stones' exhibition by Richard Kindersley comprises 10 monoliths of Caithness flagstone, all over three metres tall and cleft directly from the quarry bed, writes Izaak Hudson . On the surface of each is carved a short passage from a writer loosely contemporaneous with each 200 years of the past two millennia. The incised letters are carved in such a way as to strike a balance between the legibility of the writing and the character of the stone, so the colouring, texture and proportion of each slab allows it to stand as an object of poetry alone. By carefully considering the form, orientation and flow of the engraved letters, Kindersley not only reinforces the essence of the individual words but the rhythm of each text, as if the stones were striving for an explicit portrayal of each implicit meaning. A wonderful extract from T S Eliot on the last stone has to be deciphered through the speckled surface, inviting you to trace over and run your fingers through the groove of each letter stroke - to experience as well as read the words.
Although obviously inspired by stone circles such as Stennes, Kindersley's stones do not have quite the same power as an ancient site. It is evident that the choice and character of each monolith is more bound up with the text inscribed on it than the visual harmony of the whole ensemble. Reflecting this, the stones will be separated at the end of the exhibition. The link between each stone is in the inscriptions and their surprising timelessness - Boethius and Erigena, for example, respectively pre-empting Renaissance and Existentialist concepts by more than a thousand years.
In his choice of texts, and by using a medium familiar to even a Neolithic builder, Richard Kindersley demonstrates that man's search for the numinous is universal across millennia.