The Term Reality: Collages 1970-2010, the current exhibition at London’s Paul Stolper Gallery, is to the excellent standard maintained by this leading artspace with contributions from the likes of Peter Blake, Damien Hirst, Peter Saville and our great friends John Dove & Molly White.
The Damned, Simon Periton, 2002.
At last week’s private view, Stolper revealed that the piece on which the show turns is Simon Periton‘s The Damned, since it acknowledges the first collage, Picasso’s 1912 composition Still-Life With Chair Caning.
Still-Life With Chair Caning, Pablo Picasso, 1912.
The Damned is from Periton’s period of producing intricate paper cut-outs (which he christened “doilies”) and is of course based around the front cover of Neat Neat Neat, the second single by – who else? – The Damned.
Front cover, Neat Neat Neat/Stab Yor Back/Singalonga Scabies, The Damned, Stiff, 1977.
Periton – whose recent work includes The Beezlebag for “art-eco-fashion” brand Issi and a few years back the cover of Pulp’s Hits collection – was intrigued to find out that the Neat Neat Neat sleeve is a key work for Barney, since it marked his re-entry to the fray in February 1977.
Front cover, Hits, Pulp, Island, 2002. Simon Periton/Sadie Coles HQ after photographs by Willie Seldon.
As Stiff Records and punk rock went nationwide, Barney introduced a purposeful clarity which not only elevated the label out of the pub-rock cheekiness of it’s early months but set the tone for the new wave picture sleeve boom of the next few years. In doing so, Barney also laid the foundations for the richest and most triumphant phase of his own career.
Simon Periton at last week's private view.
Periton has now moved away from cut-outs to painting on glass; The Damned dates from 2002. Read all about him and his work in Michael Bracewell’s monograph, and, if you’re in town, catch The Term Reality; it’s on until August 3.