Ted Hughes and Sylvia Plath met at Cambridge University. They were introduced by my uncle, the historian Bertram Wyatt-Brown, who, like Plath, was a Fulbright Scholar and fellow American. This sculpture tries to depict the relationship between Hughes and Plath – one a dominating, subjugating, overpowering man, the other a depressive, introspective, melancholy woman, trapped by her partner in poetry and eventually driven to suicide.
Quote under Plath:
I am inhabited by a cry. Nightly it flaps out – looking, with its hooks, for something to love.
Quote under Hughes:
My last sight of you alive,
Burning your last letter to me…
Yet with that strange smile,
As if you had meant something quite different.
— from an abandoned version of his poem ‘Last Letter’
This wire sculpture only makes sense when looked at from a specific vantage point. The hanging wire shapes on four separate planes come together there to realise the ample proportions of the lovely Eileen, who puts Kim Kardashian to shame.
This was created for the Andrew Lanyon exhibition, Nature’s Laboratory. It’s made of a snooker cue sharpener, spectacle stems and hands made of plasticine painted with gold enamel.
This life-size head of a fictional character called Abervolt was made from unfired clay. After about 25 years, it just kind of disintegrated. This is the only photo I have of it.
I secretly hung this on a lamppost outside Penlee House Gallery on Friday, March 13 2020, as part of the international ‘Free Art Friday’ movement. It was gone three hours later, no doubt trashed by an irate park warden.