Behind The Scenes

Making The Squash

Take a look at the how we made The Squash, from artist studio visit to the final build

The Inspiration

A person dressed a squash lying among vines

Erick Hawkins in his original production of 8 Clear Places (squash),New York 1960

Courtesy of The Erick Hawkins Dance Foundation, Inc, erickhawkinsdance.org

Photo: Daniel Kramer

Each element of The Squash has evolved from Anthea Hamilton’s interest in a photo she found in a book whilst at art school. The costume in the image is modelled on the Squash Kachina of the Hopi culture.

Squashes

A collection of glass, fabric and vegetable squashes in Anthea Hamilton's studio © Tate, courtesy Anthea Hamilton 2018

Open books

Reference images: mushroom taxonomy and a still life with a melon, cabbage and citrus fruit © Tate, courtesy Anthea Hamilton 2018

Waistcoat

Patterned waistcoat used as a reference garment for the marble leather pumpkin costume © Tate, courtesy Anthea Hamilton 2018

The Costumes

Moodboards

Technical drawings for each of the seven costumes at the LOEWE studio in Paris © Tate, courtesy LOEWE 2018

Moodboards

A rail of toiles of the seven costumes at the LOEWE studio in Paris © Tate, courtesy LOEWE 2018

Anthea designed seven costumes for the performers based on different squashes.

A green frilly vest

Reference sketch and garment for costume one © Tate, courtesy Anthea Hamilton 2018

1

Toile and digital drawing for costume one © Tate, courtesy LOEWE 2018

The costumes have been made in collaboration with Creative Director Jonathan Anderson at the fashion house LOEWE, with Anthea working closely with Jonathan to realise her ideas.

Fitting

Making alterations to costume one during the first costume fitting © Tate, courtesy Anthea Hamilton and LOEWE 2018

Looking at fabric.

Discussing patterned fabrics for costumes three and five © Tate, courtesy LOEWE 2018

Adding things.

Making adjustments to the knitted tracksuit for costume two © Tate, courtesy Anthea Hamilton and LOEWE 2018

The seven costumes feature tracksuits, nightgowns, boleros and a codpiece. Many elements are hand painted in textures inspired by squashes, and lots of the fabrics feature custom prints.

Ruffled shirt

Shirt in white hammered silk crepon and vest in black stretch leather for costume five © Tate, courtesy LOEWE 2018

Texture 3

Fibreglass head in white and black stripe embellished with crystals © Tate, courtesy LOEWE 2018

Texture 1

Detail of a black ruffle with gold trim for costume one © Tate, courtesy LOEWE 2018

Back of a shirt

Silk shirt and vest toile for costume five © Tate, courtesy LOEWE 2018

Glove and cod piece on a table.

Samples of fibreglass heads, printed leather glove and braided cord cod piece

The Sculptures

Anthea selected 11 sculptures from the Tate collection to feature in the installation. They are each placed on the tiled plinths, which have been custom built to display them. The two main things she focused on when selecting the sculptures were organic form and natural colour.

F.E. McWilliam, ‘Eye, Nose and Cheek’ 1939
F.E. McWilliam
Eye, Nose and Cheek 1939
Tate
© The estate of F.E. McWilliam
Henry Moore OM, CH, ‘Working Model for Three Way Piece No.1: Points’ 1964, cast c.1964–9
Henry Moore OM, CH
Working Model for Three Way Piece No.1: Points 1964, cast c.1964–9
Tate
© The Henry Moore Foundation. All Rights Reserved
Henri Laurens, ‘Autumn’ 1948, ?later cast
Henri Laurens
Autumn 1948, ?later cast
Tate
© ADAGP, Paris and DACS, London 2018
Frederic, Lord Leighton, ‘The Sluggard’ 1885
Frederic, Lord Leighton
The Sluggard 1885
Tate
Jean Robert Ipoustéguy, ‘Earth’ 1962
Jean Robert Ipoustéguy
Earth 1962
Tate
© Jean Ipousteguy
François Stahly, ‘Growth’ 1963
François Stahly
Growth 1963
Tate
© ADAGP, Paris and DACS, London 2018
Arnold Machin, ‘Spring’ exhibited 1947
Arnold Machin
Spring exhibited 1947
Tate
© Machin Arts Foundation

The Installation

The installation took 25 days to complete. Watch our time-lapse to see how it all came together:

Tilers tiling

Tiling the North Duveen, photo courtesy Alexey Moskvin

Art handlers installing plinth

Art handling team installing one of the plinths, photo courtesy Alexey Moskvin

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Grouting the plinths

Grouting one of the plinths in the North Duveen, photo courtesy Alexey Moskvin

Building the plinth

Building the tall plinth at the end of the North Duveen, photo courtesy Alexey Moskvin

The Squash

Anthea Hamilton has transformed the Duveens galleries. The immersive space she has created is the stage for a performer who inhabits the space daily during gallery opening hours.

Squash

Anthea Hamilton The Squash © Tate (Seraphina Neville) 2018

Each performer selects their outfit for the day from the collection of seven costumes, and use the empty plinths and the areas around them to perform in.

Costume two

Costume two courtesy of LOEWE

Costume five

Costume five courtesy of LOEWE

Costume seven

Costume seven courtesy of LOEWE

Costume 4

Costume four courtesy of LOEWE

Squash

Anthea Hamilton The Squash © Tate (Seraphina Neville) 2018

Intrigued? Come and see The Squash daily at Tate Britain until 7 October 2018

Find out more

Tate Britain Exhibition

Anthea Hamilton: The Squash

Until 7 Oct 2018

Anthea Hamilton transforms the heart of Tate Britain with sculpture and performance

Free entry
TateShots

Anthea Hamilton Turner Prize 2016

The British artist introduces her exhibition Lichen! Libido! (London!) Chastity!

Artist

Supported by

Sotheby's

With additional support from Midge and Simon Palley.

Costumes designed by Anthea Hamilton in collaboration with LOEWE.