Swimfest - Sculptural Surrealist Acrylic on Plywood, Circa 1980
Derek Carruthers

Late 20th century acrylic on plywood board sculptural painting by British artist Derek Carruthers. The work is not signed but was acquired along with a collection of the artist's work directly from his atelier.

A lively, colourful and energetic painting of artist's lay figures in swimming costumes forming a star and circle on a light blue background. Two circles are cut from plywood and attached to the larger blue circle. The figures are swimming in formation creating beautiful shapes seen from above as in Busby Berkley movies of the 1930s/40s when star of stage and screen, Ethel Merman and women in flower adorned swimming caps would elegantly dive into a swimming pool and create magnificent designs with their precisely synchronised movements.

The figures are faceless perhaps to make the point that the individual loses their identity when becoming part of any group or when adhering to any strict doctrine.

These figures (reminiscent of artist's lay figures) featured often in this period of the artist's work. An artist lay figure is a doll-like model of the human figure that artists can pose in different ways. It can be used for sketching or as a stand-in for the living subject of a portrait.

"I was given an antique artist's lay figure and acquired several smaller faceless wooden lay figures. I knew Man Ray's “Mr. and Mrs. Woodman" series of photographs and enjoyed the irony and humour." So began the series of figure compositions which seem to sustain themselves as symbol and metaphor for aspects of the human condition.

These figures have inhabited Carruthers' paintings since the early 1990s. They may be placed in a fully-realised 3-D space, their solidity asserted with dramatic lighting; or they may be flat, insubstantial. They may be gathered as a busy community or they may be isolated. They are always featureless. They can be translated as a deliberately ironic comment on life; they are also evidence of the artist's continuing preoccupation with abstraction. He reduces and manipulates the figures so that they are sometimes in the Romantic tradition, a model of profound humanity, and sometimes - more challenging and chilling - Orwellian tokens of inhumanity.

Derek Carruthers was an artist who persisted in asking questions. His whole career was inspired by the determination to enquire into the nature of art, examine its purpose, and attempt to explore that place where the individual life of the mind meets the external appearance of the world where personal sensation rubs up against cultural assumptions. Not surprisingly, Carruthers explored, over the years, a language of pure form, abstract space, 2 and 3 dimensions, narrative and concept, personal and universal figuration. Looking back, over decades of work, however, each of these voices is pursuing a coherent set of questions, reflecting on the stuff of human experience. Carrthuers' individual pieces can intrigue and charm, they can be warm and poetic and they can also offer gritty resistance to the easy gaze. They can challenge us to think about ourselves, our environment, our expectations, our place in the world.

Carruthers grew up in the north-west of England having been born in Penrith, and one of his earliest memories of what art might be was formed by his encounter with the extraordinary creations of Kurt Schwitters. The latter had fled Germany in 1937, after his art had been labelled 'degenerate'. He stayed, first, in Norway and then arrived in Britain in 1940.  Carruthers had already encountered Schwitters' work as a boy, and had been launched on his own life-long examination of the nature of art.

Carruthers was further inspired by Victor Pasmore and Hamilton (British Constructivists) who were working closely together at King's College London and eventually offered a challenging course to all first year students. Thus, Carruthers – who was at King's in 1953 to 1957 was encouraged to take a rigorous approach to probing abstraction, spatial relationships, and the interlinking of art and architecture.

Having had the good fortune to have been an art student at such a time and in such a place, it is not surprising that Carruthers embarked on a voyage of artistic discovery. He showed his works with the major touring exhibition, organised by the Arts Council, in 1963, 'Construction England', together with Pasmore and Mary and Kenneth Martin.

His work was also included in exhibitions of new art at the Drian Galleries, Porchester Place, in 1963 to 1965. Reflecting the more recent re-examination of post-War, British Constructivism, Carruthers' work was also included in the 1992 show, 'British Abstract Art of the 50s and 60s', held at the Belgrave Gallery. This early work, in which solid or relief forms change their nature as they – or the viewers – move through space and time, deliberately challenges the human tendency to find comfort in regarding the world as fixed and knowable.

In these years, too, Carruthers taught at Sunderland and Leicester Colleges of Art, before moving to lead the Fine Art course, as a Professor, at Trent Polytechnic (now the Nottingham Trent University). He was a dedicated educator, leaving to pursue his own art, full time, only in the mid 1980s.

Inspired, perhaps, by this freedom, the 1980s saw Carruthers exploring new ideas. He turned from working in 3-dimensions, or collage and relief, and rediscovered the power of traditional materials, oil and watercolour, on canvas and paper. He moved away from Non-Objectivity towards a practice which explored both abstracted and figurative imagery. Throughout, he remained  preoccupied with exploring the human condition: by this trite remark, we mean that he continued to question how each individual experiences the world; he explored the ways in which human beings create totems to make their mark, as if to claim immortality; he tries to, 'symbolise the triangular relationship between humankind and religion and the art / architecture which it inspires'. Hence - as well as warm glimpses of holidays and home life - his work yields the Egyptian pyramid, the Graeco-Roman heroic figure, the Christian monument; and, ultimately, the 'sexless, ageless, raceless anonymity' of the artist's lay figure.

Derek Carruthers continued to ask questions, both about his life in a particular time and place, and about the lot of the human being on a universal scale. As an artist and a scholar, he saw himself at the intersection of these challenging states. And he makes you think........