I have spent my entire working life in the design and publishing industries in one shape or form. Being creative is what I enjoy the most and until very recently that creative force has always lead to a finite outcome whether that be writing a book, designing an advert, designing and building a piece of furniture or a garden building. It has all had a purpose over and above its aesthetic. I have dabbled in 'art' for arts sake once or twice but never got very far as I find it very hard to let go of the practicalities of life.
The Striding Man |
Richmond (1919-1977) came from Tasmania in 1948 and later worked for Henry Moore before embarking on a teaching career. His work is not so well known, but this is one of the pieces commissioned by the London County Council, the leading patron of public art in the period 1945-65. The sculpture has been removed from its original position in recent years when the school was redeveloped and renamed. I believe the sculpture is still on site, but I have yet to confirm this.
As an eleven year old schoolboy I was curious about the strange lump of metal but became oblivious to it as it was just there. In September 1967, on that first day at school, I had no idea of its significance or where it came from - it was just The Striding Man.
In 1965 when the the Greater London Council (GLC) became the administrative body for Greater London. It replaced the earlier London County Council (LCC) and inherited the patronage of the visual arts scheme. In 1970, under this scheme, the GLC purchased Two Forms - Divided Circle by Barbara Hepworth and erected it in Dulwich Park. This was not only on my way home from school but it created a huge discussion locally as it had cost an eye-watering £14,850 a huge amount at the time, and this was said to have been taking into account a 25% discount negotiated with Hepworth herself. I can remember the outcry at the time, not least of all from my father, who again was convinced that this was not art.
This was casting no. 5/6 - The last casting as they were numbered from 0/6 |
Equivalent VIII |
I must admit, I was finding it hard to relate to such a 'work' after all, I could have done that. What was even worse, as my father so rightly said, he could have done it! I was now totally confused and it was several decades before I could take contemporary art seriously again. Today, in my early sixties, I have a mature head to revisit all these things and research the stories behind the art and the artist. I plan to put into physical form a few of the ideas I have had over the years and see where that leads me.
Ralph.