Claire Barrow first piqued the fashion world’s interest when her monochrome, painted leather jackets caught the attention of none other than ultimate badgal tastemaker, Rihanna. It’s pretty incredible exposure for anyone, but particularly for a fresh-faced twenty-something working independently of any major label. Fast forward several years and stints showing at LFW through Fashion East and NEWGEN, plus 35k Instagram to boot, and you’ve got a veritable DIY success story. Hemmed in by the expectation to churn out collection after collection, however, Barrow has since rejected mainstream fashion’s relentless production schedule, instead favouring a more artisanal, concept-driven approach to create what you might call ‘wearable art’. By flooding her garments with graphic illustrations, line drawings and playful cartoons, Barrow’s clothes challenge the fixed dichotomy between fashion and art.
Recently, Barrow has spread her creative energy even further. As well as launching her second XTreme Sports collection, Adrenaline, and art directing and producing rapper Brooke Candy’s avant-garde porn film, last weekend saw Barrow opening an art exhibition at Soft Opening at London’s Piccadilly Circus Underground Station. Entitled Pig Latin Library, the exhibition presents a series of Barrow’s experimental sculptures and fantastical — even childlike — paintings that provide a surreal yet personal insight into the inner workings of her mind. In the wake of one of her most exciting ventures yet, we sat down with Barrow to talk dreamlands, bringing art into the public sphere, and why working from anywhere other than your head is lazy.
Your work has been described using the label ‘neo-primitive’. Can you describe the dominant aesthetic which informs your work in your own words?
I don’t necessarily identify with the term, but I’m not fluent in art language. I’m not really part of the art world, I’m more of an outsider artist. I’m maybe not that self-aware when it comes to my own work, I just trust my own heart and gut. I like to feel in control of my work, so each project is very thematically driven but I don’t feel like it’s super self-indulgent.
I think there’s an element of play in your work, so it doesn’t feel it’s taking itself too seriously.
Yeah, it’s therapeutic — I just want to make myself laugh or smile, and then bring that to other people.
Your practice spans both visual art and fashion, with collections such as XTreme Sports blurring the boundaries between the two fields. Do you see your work in fashion as an extension of your artistic practice or as a distinct discipline?
I do see my fashion work as an extension of my art. In the past, I didn’t though. I went through the fashion school system and when I left I was sponsored by Topshop to produce collections on the fashion week schedule. There was an expectation to churn out collection after collection but, after leaving that system, people were comfortable with me seeing myself as an artist. There is an artistic focus in my collections; they’re always very focused around a theme, and there’s a lot of print on each item.
How does your multifaceted approach enrich both your work in fashion and in visual art?
I think it makes me feel invincible, like I’m allowed to do what I want. Now I don’t feel limited, and it makes my work better. The only thing that holds me back is time.
What artistic precedents have influenced your work? You’ve previously stated that DIY culture has served as artistic inspiration, in what way is this visible in your work?
Punk DIY culture is always going to be a big influence, but not aesthetically. What I’ve taken from punk is that you should be brave and do what you want. Right now, I don’t work with mood boards or reference garments. It’s lazy to work with lots of references, I just create exactly what comes out of my head.
Your new show Pig Latin Library is taking place at Piccadilly Circus Tube Station. In your opinion, what opportunities does this space offer in contrast to the traditional gallery space?
I’ve had it in my brain for years that I’ve wanted to do public art. I didn’t like the exclusivity of showing collections on schedule and I don’t like that about the art world either. I love this idea that my art could be for anyone (though it already is, because it’s all online). My work is easy to consume so I’m hoping that maybe the show will make people feel a bit differently about art, like they might think: “I get it”.
It’s funny that you have such joyful work on display, everyone in London hates coming in to work via the tube.
Not me, I love it! I’m originally not from London, so getting the tube was so exciting when I first arrived here and being on the tube now reminds me of that moment. Piccadilly Circus Station in particular is really beautiful, it has marble walls, and is circular, so you can go all the way around.
Still with regards to the new show, can you explain more about the sort of work which will be on display?
The work on display is a sort of shrine to the dream world which I’ve been going to since I was about 14. I’m trying to get this world, which no one else knows, across in the work. The central sculpture is of the Ancient Egyptian god Anubis, who’s the god of death, funerals and judgement. In my dreams, he’s previously led me to relatives that have passed away and in one dream I became him. He’s wearing a replica of my nightie from when I was 14, because he’s also a version of me. It’s really personal work to show in such a public space — it’s a kind of self portrait.
More generally, what do you think can be done in order to make visual arts more accessible?
I don’t know if needs to be more accessible. It exists within itself, and everyone involved with it gets it and enjoys being a part of it. I’m really not a part of that world, and maybe that’s a good thing. I’m not embarrassed about doing my own thing. I do really like the idea of public art but I don’t know if other artists feel the same — It’s just my personality, I really like to share.
“Pig Latin Library” is on display in London, at Soft Opening, until 15th November 2018