From a Distance
The artist and the studio
Welcome back to From a Distance, our online Viewing Room showcasing our artists and their studio practice.
Through a series of interviews and discussions, existing and newly-commissioned photography and film, we continue to explore the artists’ working environments and inspirations, whilst hearing how they have adapted to the current climate.
Stephen Cox R.A. – In Conversation
Shropshire, UK
Portrait by Peter Searle
Can you tell us a little about your studio ?
For over ten years I have been creating my pottery in a small rural studio five miles outside the city of Bath. My studio building was originally a cowshed within a dairy farm, but is now a family run smallholding with a livery and rented studio outbuildings, so I am surrounded by fields, trees and horses. The Westbury White Horse can be seen in the distance; working in the countryside can be quite idyllic. To inspire new work I have a large pin board display of constantly changing images and photos taken of museum artifacts, details from nature, old illustrations, still life photography and seed pods. I have some display shelves with experimental pieces to refer to so I can see what works and what hasn’t been so successful.
Can you describe your earliest experience of making things?
I have a lovely vivid memory of being five and at a pottery class with my mum in Zimbabwe, where I was born and lived until I was six. It was a warm sunny day with the windows open and Boney M on the radio ! I made a lurid green pig whose legs unfortunately all fell off in the final firing.
What part of your making process continues to surprise you ?
When opening the kiln after a final high temperature firing (1,230°C) the work is always so much smaller than expected due to the 17% shrinkage rate of porcelain. I have never become used to this.
Who or what inspires you ?
Visits to the great museums around the world are always a huge inspiration, whether it is to view ceramics, textiles, metalwork, sculpture or paintings. The biggest inspiration of course is nature and the incredible structures visible when closely observed.
What can we expect from you next ?
Every few years I revisit colour and now, more than ever, I feel we all need an extra burst of colour in our lives. Colour is incredibly powerful and transformative when used with forms and always such an enjoyable challenge.
How have you adapted to working under the challenging conditions of this year ?
This past year has of course been such strange for everyone. My working practices and rhythms have been greatly interrupted by the sense of general unease, and also the necessary home schooling required for our seven year old daughter during lockdown. More than ever, I am questioning the quality and standard of what I make in light of environmental and resource concerns. If the work is not good enough, even after many, many days work invested in the piece, I will smash it and recycle the unfired clay.
I have had a thorough clear out of my studio and I am sure this will also help focus on new works in the coming year.
In the video above Stephen discusses how Stephen was first introduced to porphyry and why he enjoys working with it both conceptually and aesthetically.
“We look for quality and originality wherever the artist may be.”
Adrian Sassoon
Next to come in From a Distance Issue 9:
Kirsten Coelho, Adelaide, Australia
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