Following a series of works which included Ways to Wrap a Stone I and II (1990) and Beneath the Skin (1991), Mother Tongue continues Randall-Page's exploration of concealed form and interior energy. This dark and mysterious pod, with its smooth tight surface, has a rolling folding tongue rippling backwards with implied speed. During the process of carving it seemed to Randall-Page that the sculpture was indeed a fertile, pregnant form, and the right vehicle for his ideas about received language, learned at our mother's knee and possibly even in the womb, while also being an expression of the abstract language of sculpture. The fact that Randall-Page has chosen Kilkenny limestone for Mother Tongue resonates with his concept for the sculpture. This limestone is full of fossilised fragments of shell, coral and sponge which tell of an ancient, former life captured within and revealed through the way the surface has been worked. It is easy to be seduced by this stones materiality, but by treading a critical path between the sheer enjoyment of the stone and the discipline of keeping his concept as the continuing motivation, Randall-Page achieves a work of integrity and beauty. In its placement on the woodland floor Mother Tongue resembles a sprouting seed working towards the light; if we keep Randall-Page's preoccupation with the language of sculpture in mind, literal interpretation gives way to poetry.