In a secluded corner of Cornwall, the remarkable yet hidden artistry of Ray Exworth is finally coming to light. Following the artist’s passing in 2015, a treasure trove of his breathtaking sculptures, long concealed within an array of sheds, is now being unveiled through a new publication by photographer Jem Southam. This extraordinary body of work, visited by only a select few, raises profound questions about the nature of art and its purpose when it remains unseen.
A Lifelong Obsession
Ray Exworth, who passed away at the age of 84, dedicated over sixty years to sculpting a collection that many believe ranks among Britain’s most significant artistic contributions. Nestled within a labyrinth of seven sheds and a few shipping containers, his intricate creations have only been glimpsed by a fortunate twenty individuals, including his wife, Susie, who recalls, “I could not visit without an invitation!”
Exworth’s solitary existence in his Cornish smallholding echoes a life spent in the shadows of recognition. Despite a notable exhibition at the Whitechapel Gallery in 1975, he faded into obscurity, leaving behind a legacy filled with vast, ambitious sculptures crafted from salvaged materials. A new book titled *Ray’s Sheds* offers a rare glimpse into this hidden world, capturing the essence of Exworth’s artistic vision and the intimate relationship he maintained with his craft.
The Art of Memory
Born in 1939 in Ipswich, Exworth’s formative years were marked by the trauma of World War II. His childhood home was destroyed during a bombing raid, an event that left an indelible mark on his psyche and later influenced his artistic narrative. His sculptures often reflect memories of this turbulent period, featuring motifs such as clowns, dolls, and even meticulous recreations of his father’s garden, made entirely from lead.
One of his most ambitious works, a sprawling 60ft by 30ft garden replica, remains hidden within a container, underscoring the scale of his dedication. Jem Southam, who first met Exworth in the 1980s, recounts the awe-inspiring moment he stepped into Exworth’s sheds: “As soon as the door slid open and I looked inside, my jaw dropped. I knew I was in the presence of a remarkable artist.”
The Circus Shed
Among the most captivating spaces within Exworth’s domain is the aptly named circus shed, a veritable wonderland of sculptural ingenuity. Southam’s photographs reveal a chaotic but meticulously curated environment, filled with figures of performers, animals, and whimsical creations made from an eclectic mix of materials: plaster, wood, textiles, and even repurposed steel nails.
Exworth’s creative journey began while he was stationed at the Meteorological Office during his national service, where the bright lights of Piccadilly Circus ignited his imagination. Over a decade, he poured his heart and soul into *The Circus*, working six days a week and transforming his visions into reality. Each piece tells a story of its own, painstakingly crafted to reflect the artist’s intricate thought process and profound understanding of form and material.
A Legacy of Humility
Despite his reclusive nature, Exworth’s impact on the art world is undeniable. His long-time friend and colleague David Heseltine describes him as “well-read” and possessing an “exhaustive” knowledge of art history. While he drew inspiration from figures like Henry Moore and Jacob Epstein, his own artistic vision diverged significantly from his contemporaries, who he felt lacked the compassion he valued.
Exworth’s quiet ambition was not to seek fame but to immerse himself in the act of creation. As Heseltine poignantly states, “He found the act of making far more rewarding than presenting.” This unwavering dedication is beautifully encapsulated in *Ray’s Sheds*, which serves not only as a record of Exworth’s work, but as a testament to the importance of artistic integrity and the personal journey of creation.
Why it Matters
The unveiling of Ray Exworth’s sculptures marks an essential moment in the appreciation of 20th-century British art, challenging us to reconsider the traditional narratives surrounding visibility and recognition in the art world. In an age where exposure often equates to value, Exworth’s story illustrates the beauty of a life dedicated to the craft itself, free from the pressures of public scrutiny. *Ray’s Sheds* is not merely a collection of photographs; it is an invitation to reflect on the purpose of art, the memories it evokes, and the profound impact of an artist who chose to remain in the shadows, yet whose work speaks volumes.