Vaughan Oliver

Oliver was born in Sedgefield, County Durham on 12 September 1957.[2][3][4] He developed an interest in graphic design through his love of music, in particular the work of Roger Dean.[5] He said in 2014 "There was no real culture, my parents were not really interested in anything unusual – everything I was getting was through record sleeves. It was a democratic way of discovering art."[4] It was not until he studied graphic design at Newcastle upon Tyne Polytechnic that he took the subject seriously.[5] Through his studies his interests broadened to include inspiration from the work of Salvador Dalí, Surrealism and Pop artists such as Robert Rauschenberg and Andy Warhol.[5] After graduating in 1979, Oliver went to London hoping to find a designing job with a large design group. He soon found out that he was not made for working with big corporations or designing for the commercial world. He subsequently met the owner of the record label 4AD, Ivo Watts Russell. This encounter led to a thirty-year partnership between Vaughan Oliver and 4AD.[6]

23 Envelope consisted of Oliver (graphic design and typography) and Nigel Grierson (photography). Together, they created the artwork for almost all 4AD releases until 1987. Grierson left 23 Envelope in 1988.[1] At that time, Oliver continued to work for 4AD under the studio name v23, collaborating with Simon Larbalestier, Marc Atkins and others.[3]

In February 1990, Oliver was asked to bring together the work he had done so far for 4AD to be shown for the first time in an art gallery, the Espace Graslin in Nantes, France. The exhibition gathered so much media exposure throughout Europe that it subsequently moved to the Parc de la Villette in Paris.[7] An illustrated catalogue titled Exhibition/Exposition was published to coincide with both Nantes and Paris exhibitions.[7]

In 1994, many of those who had collaborated with Oliver over the previous decade contributed to an illustrated catalogue for the retrospective exhibition of his work held at the Pacific Design Center in Los Angeles, This Rimy River.[8] Recollections of the v23 design experience were provided by individuals such as design writer Rick Poynor,[9] and art critic Ian McKay who frames Oliver's work in a fine art context.[8][10]

In 2000 a major monograph Vaughan Oliver: Visceral Pleasures by Rick Poyner was published by Booth-Clibborn Editions.

In 2005, to mark 25 years of 4AD records, Oliver produced a limited-edition publication of his poster designs, with a second-edition published to coincide with a solo exhibition of his posters staged at the Stanley Picker Gallery (Kingston University, London, UK) in 2007.

In 2011, Oliver was awarded an honorary Master of Arts from the University for the Creative Arts,[11] where he taught on the Epsom campus as a visiting professor.[12] Two books of work were published.[6]

Oliver's album art helped to shape the aesthetic of 4AD, a cult indie record label that was prominent from the 1980s well into the 1990s. The mysterious qualities in his album art were inspired by surrealist painter Salvador Dalí, whom Oliver admired during his college years. Oliver created album artwork for a number of 4AD bands, including Pixies, Cocteau Twins, The Breeders and This Mortal Coil.[13] Although Oliver worked exclusively with 4AD, he would occasionally work with non-music related clients.[6] He had an influence on the post pop-punk music industry, inspiring hundreds of artists to be different, mysterious and explorative.[14] During the early years of 4AD, Oliver was credited with giving the bands and the label an identity through his visual language, despite their adherence to different genres.[15]

Oliver produced the artwork for the Pixies' entire discography during his lifetime, including the albums Come On Pilgrim (1987), Surfer Rosa (1988), Doolittle (1989), Bossanova (1990), Trompe Le Monde (1991), Indie Cindy (2014), Head Carrier (2016) and Beneath the Eyrie (2019), as well as numerous singles and EPs. In 2009, Oliver designed the Pixies' Minotaur, a 26-pound box set consisting of the band's first five albums, a 96-page fine art book and a 52-page photo book.[16] Oliver stated that, with each Pixies release, he had looked to achieve "a sense of continuity" within the catalog but also employ a "fresh approach", and that his ethos "was always about building individual identities for bands."[17]

Among Oliver's other interests was football. Oliver was a qualified FA coach,[5] and he was a keen supporter of Sunderland.[18] He designed the sleeve of their 1992 FA Cup single and had been approached by the club to redesign their crest.[5]

Oliver died on 29 December 2019 at the age of 62.[13]

• Vaughan Oliver: Archive (Unit Editions, 2018). Edited by Tony Brook and Adrian Shaughnessy. ISBN 978-0-9956664-8-1. Two volumes. Edition of 900 copies. Reprinted as a single volume edition in 2020.