After coffee in Borough Market and a wonderfully free afternoon, I found myself walking along the river towards Vauxhall and Damien Hirst’s Newport Street gallery. Its inaugural exhibition showcases the daring palette of British abstract artist John Hoyland, focussing on his large-scale Power Stations painted between 1964 and 1982. Spanning six large galleries, spread over two floors adjoined by sublime spiral staircases, this exhibition certainly has impact! Each gallery has clean white walls and contains a maximum of seven huge canvases (with many home to as few as four), allowing the audacious colours of Hoyland’s palette to really stand out, and enough space for each piece to be appreciated before shifting your focus onto the next one. Born in Sheffield in 1934, Hoyland moved to London in 1956 to attend the Royal Academy – however it was not until his first trip to New York and subsequent encounters with artists including Rothko, Motherwell, Kenneth Noland and Barnett Newman as well as the sculptural works of Anthony Caro, that his style showcased in ‘Power Stations’ began to emerge. Although the exhibition takes a chronological approach, the prudent curation makes you forget the concept of time. Instead intense colour and evolving style divert your attention; initial washes of reds, greens and greys with geometric shapes floating freely on the canvas are replaced with creams, pinks and nudes with strong brush strokes and obvious use of a palette knife, and finally bright block colour combined with diamond, rhomboid and triangle shapes. Likewise the sheer scale of each piece alone is enough to impress. I only regret that I failed to visit before the closing weekend of the show as I would have enjoyed seeing Hoyland’s work again, but look forward to revisiting the space for the upcoming Jeff Koons exhibition in May.
Vibrant colours (purples, oranges, pinks and blues), luxuriant materials (velvet, silk, felted wool and brushed cotton) and unusual techniques (ombre dying, shibori, toaster printing, passementerie and ikat) combine for an effective retrospective on British designer Marian Clayden. Using a combination of large-scale silk prints and finished garments hung on dummies, the Fashion and Textile Museum takes visitors on a chronological journey through the often overlooked designers’ career. Clayden studied art at Nottingham School of Art and taught at primary schools as well as exhibiting paintings in Harris Museum throughout the 1950’s before emigrating to Australia in 1962 where she began exploring dying techniques, despite only taking one short course in dying at college. The exhibition opens with impressive 1969 garments commissioned for the musical Hair (and produced in the kitchen!), following Clayden’s move to California and subsequent introduction to set and costume designer Nancy Potts. Things moved quickly and throughout the 1970’s Clayden participated in nine group exhibitions across America, Canada, Japan, Poland and back home in the UK. She also spent a year in Iran during this period, and the exhibition goes on to display ropes, hand dyed cotton and ripped silk influenced by her travels. The following decade saw the launch of Clayden Inc. which expanded to produce four collections each year, and the upstairs galleries showcase new print design techniques utilising clamps and a household sandwich toaster, as well as her constant experimentation with different materials. Throughout the exhibition, the accompanying text is accessible and explains complex techniques in simple terms, paralleling Clayden who despite creating high fashion garments for the likes of Sophia Loren, Elizabeth Taylor and Sigourney Weaver was keen to share her skills and knowledge with everyone, and even produced educational tools for that purpose. Likewise, the layout and use of clothed dummies gives each piece space and allows visitors to appreciate the materials and techniques being celebrated.