Matthew Dalziel and Louise Scullion’s internationally acclaimed artworks serve as conduits between people and nature and have been widely exhibited in the UK and abroad.

Dalziel + Scullion’s powerful design elegantly interweaves propserity, people and planet and has the potential to become a highly respected symbol of sustainable finance, galvanising action and change.


Amulet will be a gilded circle of braided grass, made out of bronze and it will be approximately 4m in diameter. The sculpture will be sand cast and each section will be bolted to an internal steel armature and welded to one another. The work will be finished in a liquid, gold-finished metal paint that will be regularly cleaned and maintained. All emissions connected to the making and transporting of Amulet will be offset.


At 4m high the Amulet will enable the public to interact with it and be seen from afar.


The Artists: Dalziel + Scullion

Amulet monumentalises a simple gesture, a twisted loop of grass, to draw attention to our relationship with and dependence on the Earth. A timeless symbol, the circle is associated with the reciprocity of the Earth and the idea that nature and finance must become equal partners. The gilded circle of Amulet evokes a wealth that is bound to the earth and to sustainability.

Throughout history, cultures have used braided material as both a tool and a metaphor where each strand is made stronger by being bound with others - individuals and collectives who come together for the greater good.

Dalziel + Scullion, 2019


Following technical and detailed design approval by the City Arts Initiative and the Diocese of London, as well as receiving Scheduled Monument Consent, Amulet now has permissions to be sited for five years in Christ Church Greyfriars Churchyard in the City of London.

This central site is very close to Paternoster Square and the London Stock Exchange and is the perfect location to promote sustainable finance.

Historically, Christ Church Greyfriars is a ‘phoenix rising’ site - from its beginning as an influential 13th Century Franciscan monastery that was destroyed by the Great Fire of London, to then being rebuilt by Christopher Wren in 1687, but then being badly bombed in the blitz.

Amulet gives this site the opportunity to host a transformative symbol that will serve as a powerful corona to focus our energies on investing in the future of the planet.


Concept image of proposed site at Christ Church Greyfriars Churchyard, City of London


To ensure the success of this project, we are phasing project activities and costs based on secured pledges received from our fundraising activities.

It is our plan to unveil the sculpture in early 2022 which will be fifty years since the Stockholm Declaration's 26 Principles on Environment and Development and thirty years after the Rio Earth Summit.

  • PHASE 1 - Following the launch of the project in June 2018, we have raised £80,000, mainly from private individuals and small charitable trusts. These monies have paid for an art consultant to organise the design competition, as well as preparatory work such as feasibility studies and surveys on numerous sites in the City of London. This phase has also included the technical detailed design work needed as part of the planning permissions from the City Arts Initiative, the Archdeaconry of London, and the Corporation of London. This phase has now been completed.

  • PHASE 2 - Will include development design work, art curation, materials, transport and installation, as well as ongoing maintenance and insurance of the work.

Having read about Greyfriars’ history as an important location of the Franciscans who advocated a different type of lifestyle where knowledge (often rooted in nature), integrity and interconnection were valued over wealth and property – we believe that the contemporary objectives of this project reverberate strongly with the timeless principles of the sites past.

Throughout history, key figures have guided us to look at things differently, perhaps it is their intellect, their personality or just their persistence that helps us to examine engrained behaviour through an alternative lens. It was never Tessa’s intention that this sculptural symbol be about her, but it is hard not to associate it with her sharply curtailed life’s work. The fact that, not one, but three medieval queens are thought to be buried at this site, resonates a degree of dormant power that reverberates perfectly in the beliefs Tessa championed.

Dalziel + Scullion, 2020