In a remarkable revelation for the art world, the secretive oeuvre of sculptor Ray Exworth is finally coming to light, nearly a decade after his passing. Nestled within a remote Cornish smallholding, Exworth’s vast collection of sculptures remained virtually unseen during his lifetime, accessible to only a select few. Now, thanks to a new publication by photographer Jem Southam, the astonishing artistry that few have had the privilege to witness is being shared, inviting a broader audience to appreciate his unique vision.
A Life Shrouded in Mystery
Ray Exworth, who passed away in 2015 at the age of 84, dedicated sixty years to creating a stunning array of sculptures that challenge conventional artistic visibility. His life’s work, concealed within a maze of seven sheds and shipping containers, has been largely inaccessible, even to those closest to him. His wife, Susie, 92, notes that even she could not enter the sheds without a formal invitation, underscoring Exworth’s reclusive nature.
His only major exhibition took place at the Whitechapel Gallery in 1975, after which he faded from the public eye, leaving a legacy that was both prolific and profoundly private. Most of his sculptures, which integrate salvaged materials into sprawling, intricate forms, have remained untouched, preserving their initial state as if frozen in time.
A New Perspective: Ray’s Sheds
The recently released book, *Ray’s Sheds*, by Jem Southam, serves not only as a visual document of Exworth’s impressive work but also as a contemplative exploration of the role of art in society. Southam believes that only about 20 individuals have had the privilege of stepping inside Exworth’s creative sanctuaries. His photographs capture the stunning depth and complexity of Exworth’s sculptures, igniting curiosity about the meaning and purpose of art that exists without public exposure.
Born in 1939 in Ipswich, Exworth was the eldest of five boys. His early life was marked by the trauma of World War II, which profoundly influenced his artistic endeavours. The loss of his childhood home and the memories of his father’s craftsmanship inspired a recurring theme in his work, evident in pieces that reflect childhood memories and familiar objects—a testament to his emotional depth and artistic ingenuity.
The Circus: A Decade of Dedication
One of Exworth’s most ambitious projects, *The Circus*, stands as a monument to his creative spirit. Southam recounts how the concept originated during Exworth’s national service in the Royal Air Force, where he was often inspired by the bustling chaos of Piccadilly Circus. Over ten years, Exworth devoted himself to this monumental work, crafting a vibrant world populated by clowns, performers, and fantastical creatures.
The circus shed, described vividly in Southam’s photographs, is a treasure trove of creativity, cluttered with materials ranging from plaster and metal to textiles and wax. A juggler frozen mid-performance, composed of repurposed steel nails, exemplifies Exworth’s resourcefulness and dedication to his craft. Each figure tells a story, a reflection of the artist’s unwavering commitment to his vision.
The Artist’s Journey: Friendship and Legacy
Southam’s relationship with Exworth began in the 1980s, when he was invited to photograph the artist’s work. Despite their friendship, access to the sheds remained elusive for decades, illustrating Exworth’s desire to keep his artistic process private. It was only after Exworth’s death that Southam approached Susie to document the hidden treasures within the sheds, leading to a decade-long project that sought to preserve Exworth’s legacy.
The resulting book features approximately 60 photographs, along with personal anecdotes from Southam’s experiences with Exworth. The images capture the essence of the sheds—dimly lit, filled with sculptures both finished and in progress, each corner a testament to Exworth’s artistic journey.
David Heseltine, a close friend and colleague of Exworth, describes him as a deeply knowledgeable and compassionate artist. His artistic vision was distinctive, often diverging from that of his contemporaries, who Heseltine believed lacked the same emotional depth. For Exworth, the act of creation was far more fulfilling than the act of presentation, a philosophy that resonates through his work and now finds a new audience through Southam’s book.
Why it Matters
*Ray’s Sheds* is not merely an archival record; it is a vital contribution to the understanding of 20th-century British art and a poignant reminder of the many artists whose work remains hidden in obscurity. In an age where exposure often defines artistic success, Exworth’s story challenges conventional notions of visibility and recognition. His unwavering dedication to his craft, untouched by the demands of the art market, invites us to reflect on the true purpose of art itself. As Susie Exworth continues to visit the sheds, she finds comfort in her husband’s enduring presence, a legacy that now beckons for wider recognition and appreciation.
