Image credit : Fernando Lobina Image credit : Fernando Lobina
I began to search for a stone yard . I found one relatively nearby and decided to buy a block of stone and go from there . They had all kinds for sale : soapstone , marble , alabaster . The place was amazing . I went with alabaster as I was told how easy it is to work with . Because there ’ s no grain , you can work it in any direction and it won ’ t crack .
Compared to wood , which was the main material I ’ d worked with until that point , alabaster is so soft . It ’ s so enjoyable – especially when you reach the final stages of carving . As the sides of the vases and bowls become thinner and the surface becomes more and more polished , it allows even more light to pass through . People have been to my shows and not known what the material is . It ’ s so shiny and smooth that some think it ’ s glass . With future work I plan to explore lighting and want to really push myself with how thin I can make each piece .’
Cook has recently been working on a new series for an exhibition Momentary Flow on display in The Scottish Gallery this June , which will be Oliver Cook ’ s second solo presentation with The Scottish Gallery in Edinburgh following his eagerly anticipated Form & Light in September 2021 . In his new exhibition , he will continue to explore the properties of alabaster whilst introducing new sculptural pieces in both Carrara marble and Egyptian marble .
of alabaster and the action of movement . This latest collection continues with those themes , exploring how pieces can represent movement in different ways .
Movement is the central theme that is present in each piece , from pieces balanced appearing almost on the verge of falling , to ripples and waves mimicking the flow of water or patterns made by the erosion from the surface of a rock face .’
‘ The material I use is ancient – people have been working with stone for thousands and thousands of years – but I think the way I ’ m using it is modern . I ’ ve not come across anyone else making alabaster objects inspired by wicker baskets , for instance , or other everyday objects . I think designing alabaster pieces that people can interact with sets my work apart .’
THE PROCESS :
‘ My creative process always starts with the concept . Each piece is individual . I sketch out the design and dimensions then draw the design on the block of stone , taking into account any quarry marks or other inclusions . I then rough out the form using an angle grinder and chisels . Once I have the rough shape , I refine it using rasps – a coarse file . Then I can start polishing . It ’ s a slow process because you need to be really careful not to take out chunks of the material with the tools . It ’ s completely different to working with something like clay , for example , which is an additive process .
Where I work , there ’ s a lot of outdoor space . Carving stone and using power tools creates so much dust that you have to do it outside , unless you have a professional dust-extraction system .’
‘ Momentary Flow encompasses an interplay between three areas of my practice , light , movement and most recently texture . Previously my work has focused on the interplay between the translucent properties
Momentary Flow at the Scottish Gallery June 2023 , see website for more details , Scottish-gallery . co . uk
Issue 58 2023 THE ART OF LUXURY