The Cornish countryside has been hiding a treasure trove of artistic genius for decades – and what a revelation it is! The late Ray Exworth's extraordinary sculptures have finally been given centre stage, offering a tantalising glimpse into a creative world that was previously locked away from prying eyes. This remarkable collection, crafted over an astonishing six decades, has only ever been glimpsed by around 20 people – and now, thanks to photographer Jem Southam's new book 'Ray's Sheds', we're getting the chance to experience it for ourselves.
The sheer scale of Exworth's endeavour is breathtaking. We're talking labyrinthine sheds and shipping containers bursting with intricate creations made from a staggering array of materials – plaster, newspaper, metal, wood, and textiles, all coaxed into life by the artist's meticulous hand. Take, for instance, the 'circus shed', a veritable wonderland filled floor-to-ceiling with figures crafted from salvaged materials. There's a juggler with a frozen cascade of balls fashioned from hammered and welded steel nails – a masterpiece that reportedly took months to complete.
Exworth's artistic journey is one of raw emotion, fuelled by the traumatic experiences of his childhood. His family home was bombed twice during the war, leaving an indelible mark on his life and art. Recurring themes of childhood memories and beloved objects – think clowns and dolls – are woven throughout his work like a rich tapestry. And then there's 'The Circus', a behemoth sculpture measuring 60ft by 30ft, crafted from beaten lead and featuring miniature forks, spades, and flowering roses.
Exworth's dedication to his craft was absolute – he reportedly worked on 'The Circus' for six days a week over an entire decade! Despite his prodigious output and clear ambition, he had only one major exhibition during his lifetime – at the Whitechapel Gallery in 1975. Since then, his name has largely faded from public consciousness, making this new documentation a game-changer for British art history.
As we delve into Exworth's story, it raises questions about the very purpose of art when it remains hidden from the world. What drives an artist to create something so extraordinary, only to keep it secret? And what does this reveal about our conventional notions of artistic recognition and legacy? Exworth's wife, Susie – now 92 – recalls needing an invitation to visit his studios, underscoring just how intensely private he was in life.