HUMOUR, IMAGINATION, PLAYFULNESS, wit, social criticism, and creativity – these are all words that can be applied to the works of the artist Peter Blake, which are on show in a superb exhibition at the Waddington Custot gallery in London’s Cork Street until the 13th of April 2024.
Blake was born in 1932 in Dartford (Kent). He studied art at Gravesend Technical College, and then at the Royal College of Art in Kensington. He is a leading British exponent of Pop Art, which, according to Wikipedia:
“… is an art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony.”
One of Blake’s most familiar works is the album sleeve for the Beatle’s LP “Sgt. Pepper’s Lonely Hearts Club Band”, which he designed along with Jann Haworth, his wife between 1963 and 1979. I wonder how many Beatle’s fans know that Blake was involved with making the image on this.
The exhibition at Waddington Custot is dedicated to Blake’s sculptural works. There has not been one during the last 20 years. Although there are many of his sculptures in the gallery’s three interconnecting rooms, many of his ingeniously witty collages are also on display. Employing images from comics, old books, and other printed matter, these collages are so carefully assembled that unless one looks at them closely and extremely obliquely, it is difficult to realise that these artefacts are not prints but collages.
The sculptures are with only a very few exceptions, wonderful assemblages or tableaux constructed with found objects. For example, one of these is a shelf overloaded with miniature booze bottles, all positioned beneath a miniature image of Leonardo da Vinci’s depiction of the Last Supper. There are several model sailing boats, on which Blake has placed plastic models (toys) of people expressing a range of behaviours. Other sculptural assemblies are more complex and need to be seen rather than described. I mentioned ‘exceptions’ at the beginning of this paragraph. This refers to four objects – they look like large stones (one of which is a carved stone head) – which Blake called “Found Sculpture”. Each of these is mounted on its own plinth. By doing so, the artist has ‘elevated’ these natural objects to the status of ‘fine art’, and as the gallery’s hand-out said, they challenge:
“… conventional notions of artistic materials …”
I loved the exhibition. Every exhibit is both interesting and beautiful … and great fun. As the show’s hand-out correctly stated, Blake’s sculptures are:
“… by turns quirky, endearing or engaged with conceptual concerns.”
His creations:
“… offer starting points for imagined narratives, each with a glimmer of Blake’s typically gentle, English sense of humour.”
And this is quite correct. Skilfully conceived and executed, Blake’s works provide nourishment for both the eye and brain in a delightfully digestible form. If you view the exhibition with an open state of mind, you are bound to gain great enjoyment from it.








