In a remarkable revelation for the art world, the extraordinary yet largely unseen sculptures of Ray Exworth are at last coming to light. The British artist, who dedicated over sixty years to his craft, created a vast collection within the confines of several sheds on a secluded Cornish smallholding. Until his death in 2015, only a select few—reportedly just twenty—had the privilege of witnessing these astonishing works. Now, a new book by photographer Jem Southam, titled *Ray’s Sheds*, offers an intimate glimpse into Exworth’s secretive artistic universe, raising profound questions about the nature and purpose of art itself.
A Life Shrouded in Secrecy
Ray Exworth was born in 1939 in Ipswich, the eldest of five boys in a family marked by resilience. His father, a skilled sandcaster, instilled in him a deep appreciation for craftsmanship, despite their humble means. The scars of war shaped Exworth’s childhood; their home was destroyed in a bombing raid, an event that left indelible marks on his psyche. This tumultuous early life informed his later creations, which often evoke childhood memories, including whimsical figures like clowns and dolls, as well as the garden his father painstakingly rebuilt post-war.
Though Exworth had only one major exhibition during his lifetime, at the Whitechapel Gallery in 1975, his work remained largely obscured from public view. The artist was notoriously reclusive, allowing even his wife, Susie, little access to his creative sanctum. “I could not visit without an invitation!” she recalls, a testament to his guarded nature.
The Enigmatic World of Ray’s Sheds
For decades, Exworth’s sculptures lay hidden inside a series of sheds and shipping containers, meticulously crafted from salvaged materials. Southam, who first encountered Exworth in the 1980s, described the moment he stepped inside the artist’s workspace as nothing short of astonishing. “My jaw dropped,” he remembers, captivated by the sprawling, chaotic beauty that surrounded him.
The first shed, aptly dubbed the “circus shed,” was filled to the brim with life-sized figures, including ringmasters and performers, all fashioned with remarkable ingenuity. Exworth’s tenacity was remarkable; he dedicated six days a week for a decade to the creation of *The Circus*, a project born from his daily commute through Piccadilly Circus during his national service. The sheer volume and variety of materials he employed—plaster, metal, wood, glass—underscore his inventive spirit.
Southam’s book, which includes around sixty photographs alongside personal anecdotes, is a labour of love, taking a decade to complete. After Exworth’s passing, Southam sought Susie’s permission to document the artist’s work, a task made challenging by the cramped, cluttered spaces of the sheds. Using a large-format camera, he aimed to capture not just the sculptures themselves but the atmosphere of artistic fervour that permeated Exworth’s world.
A Legacy of Artistic Dedication
The significance of *Ray’s Sheds* extends beyond mere archival documentation; it serves as a vital introduction to Exworth’s contributions to 20th-century British art. David Heseltine, a long-time friend and colleague of Exworth, reflects on the artist’s unique vision, stating, “He found genius and inspiration in Henry Moore and Jacob Epstein, but his creative vision ran counter to many of his contemporaries.” Exworth’s work embodies a commitment to craftsmanship devoid of pretension, where the act of creation was more fulfilling than public acclaim.
The poignant observations of those who knew him reveal a man who, despite his reclusive tendencies, possessed a profound sensitivity and compassion. His humility belied the certainty with which he approached his art, a quality that strongly resonates in his creations.
As Susie visits the sheds, she feels a palpable connection to her late husband, saying, “There is a strong feeling of Ray’s presence in each one.”
Why it Matters
The unveiling of Ray Exworth’s hidden masterpieces is not merely an artistic revelation; it challenges our understanding of what it means to be an artist in a world obsessed with visibility and validation. His story invites us to reconsider the value of work that exists outside the public eye, celebrating the quiet dedication of those who create for the sheer love of their craft. In an age where exposure often trumps authenticity, Exworth’s legacy serves as a poignant reminder of the beauty of art that exists solely for its own sake. Through *Ray’s Sheds*, we are finally able to appreciate the genius of an artist who chose to remain in the shadows, allowing us to marvel at his imagination and craftsmanship, long after his final curtain call.
