Two names
connected up in my consciousness this week: Barbara Hepworth, the sculptor, and
John Lewis, the retailer. The latter came up in conversation with a friend for
whom the department store is a preferred destination. The former featured a couple
of days later when I travelled to Wakefield to visit the newly-built art
gallery, devoted to and named for the famous daughter of that city. It was there
that the dots were joined up and I ‘discovered’ what many people already know:
that Barbara was commissioned, in 1962, to create a sculpture to adorn the face
of John’s shop in Oxford Street. It’s still there – although I admit to having
never noticed it.
I’ve always
liked Barbara Hepworth’s work, more especially since visiting her wonderfully
evocative studio in St. Ives some years ago, and although Wakefield did not
promise the romantic or artistic allure of the North Cornwall fishing port, I had
decided that it is close enough to home for an easy excursion. But if, like me,
you had Wakefield stereotyped as a run-down Northern backwater then arriving by
train at Kirkgate station would perfectly confirm your prejudice: desolate, derelict
and downright dangerous it is incredible – but for the fact of the matter - that
this unmanned station is in daily use in the centre of an English city.
The walk from
Kirkgate to the Hepworth gallery, though short, is unpleasant because it requires
the crossing of complex, busy trunk roads. But the destination, a bend in the
river, is attractive and well chosen and the new building, despite its
profusion of blank, sharply angled, blue-grey concrete walls, manages to look
at home, nestled cosily in the bosom of nature.
It was a
school holiday when I visited so, once inside, my bleak, edge-of-town
experience was quickly displaced by the cheerful hubbub of visiting families.
The gallery itself is beautifully fit-for-purpose and the exhibits are
intelligently displayed so as to present their most dramatic faces. The whole
is undoubtedly a collection of world-class art housed in an appropriately
magnificent setting – just as I had expected.
The walk
back to the station, however, revealed something I had not expected. I took a more considered look at the surroundings and
went a little out of the way, crossing busy traffic routes, so as to get close
to the mediaeval Chantry Chapel. This fabulously ornate jewel of a building is
isolated on a now disused bridge over the river. There were no visiting
families admiring the intricate stone carvings. There was not even one
passer-by. It was closed-up but for a notice pinned to the door advertising
occasional services of worship. This building is a spectacular reminder not
only of the former prosperity of Wakefield but also of the cultural shifts that
have occurred since. Now it stands neglected and vulnerable to vandalism.
Approaching
the station on foot was another revelation. The elegantly symmetrical,
stone-faced station building dates back to 1845 and was listed (in 1979) as
historically important. Although much damage has been done to it before and
since, the grandeur of the architecture still proclaims its former significance
as it clings, along with its later spawn of scruffy industrial sheds, to the
commanding hillside position where it once served as a lynchpin of the regional
economy. Its present owners afford it no respect.
The very
small slice of Wakefield that I walked through contains important mediaeval,
Victorian and contemporary heritage landmarks; yet all the money and attention
has been lavished on just one of them. The new gallery is certainly a
‘destination’ but it is only the latest milestone in Wakefield’s history; as a
newcomer it has no right to elbow the others into obscurity. And the City is,
more than ever before, accessible at the centre of a network of canals,
motorways and railways: Kirkgate station is a stop on the main rail line to and
from London. Someone in the City Council should be thinking about joining up
the dots.
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