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.
Colin Reid – In Conversation
Stroud, UK
Speaking with Colin Reid at the end of 2020, he reflects on the quieter months since March 2020 and the strange lack of structure. As an artist who has enjoyed 35 years of success, the evaporation of art fairs and exhibition deadlines have left him somewhat disconcerted by the loss of routine. Instead he has spent time working on a commission, whilst recognising his innate ‘need for an audience’ to organise his practice.
Reid observes how other artists have taken time to clear their heads and studios, refocus and devote time and attention to creating work which otherwise might not have come to light. Indeed, Reid consciously balanced working on his commission whilst devoting time and space to experimentation – working with new glass stock to conquer technical problems and carefully working towards the creation of a new piece in response to the global pandemic.
Between periods of lockdown, Reid has also managed to indulge his other passion, sailing. The day after the first set of restrictions were lifted, he sailed to Scotland to explore the Inner Hebrides. This essential period of escape, valued as an opportunity to clear his head and recharge, has certainly equipped Reid for the return to his studio and the challenges ahead.
Various details of available works
Can you tell us a little about your studio ?
I have been in the same studio since the early 1980's. It is an old stone mill, which I have adapted and grown into over the years. It is quite pretty and located on the outskirts of town, on the edge of the countryside. Over time I have added facilities as required, so it is a bit higgledy-piggledy, but it works for me.
I collect plaster casts from different projects over the years, bits of Gloucester Cathedral, rocks found in Japan, plants from the Eden Project and Chatsworth, and books. These are around me as I work, along with some really fabulous pieces of glass as a raw material together with things I have cast.
My top floor studio gives me space to display probably eight pieces on plinths to show the occasional visitor, as well as an opportunity for me to study examples of some of my most important work. These are mainly pieces I am keeping as part of my own collection of works for my kids to inherit.
Is there something in your studio you can’t live without ?
I have been puzzling over this ! There are a few modelling tools I really like and always take with me when teaching. There is nothing particularly special about them, but they are just the perfect shape and balance. These include an old bone-handled table knife, with a parallel sided blade which is slightly bendy – really useful !
Please explain your making process, how it relates to the history of your field and your favourite part of the process
I have always enjoyed casting glass, especially as the lost-wax process is one of the oldest creative techniques in the world. My art school tutor, Keith Cummings, used to remark on the satisfying link with antiquity and how today’s wax models and processes would be instantly recognisable to an ancient Egyptian.
My favourite part of the process is creating the original wax models. I enjoy the hands-on nature of working the wax as it is incredibly tactile and far less dirty and noisy than much of the process.
Another aspect I particularly enjoy is the meticulous preparation involved in setting up the kiln for my Colour Saturation series. Whilst I have an assistant, this part of the process can only be completed by me, as it is so intrinsic to the aesthetic of the sculpture. Every section of glass is numbered and placed carefully, which has to be executed quietly, slowly and thoughtfully.
What part of your making process continues to surprise you ?
The moment, which may sound silly, when I walk into the studio and see my finished pieces placed on the workbench by the sand blaster lit up with halogen lights. Finished pieces accumulate there and I love seeing the reactions of visitors, particularly deliverymen. It is genuinely surprising to see their responses as they are often the first to preview my latest developments. Glass just captivates people!
Is there a piece of music or pastime that continues to give you pleasure ?
If I am working and listening to music then the Italian pianist Ludovico Einaudi creates the perfect atmosphere for the thoughtful process of wax modelling.
Sailing continues to be a passion. There is an incredible feeling when setting off on a passage and finding the perfect balance between the wind and the sails with the sea stretching out ahead. This is a feeling like no other, and totally different from creating sculpture – at sea I do not think about work. However, the sensation of everything perfectly balanced and in unison is very similar to when a work is realised. Standing back and seeing there is something about the formation, which feels just right brings the same emotion. In fact, people often say my work can be quite meditative.
The video above shows Colin Reid in his studio and explores how he works.
“We look for quality and originality wherever the artist may be.”
Adrian Sassoon
Next to come in From a Distance Issue 8:
Andrew Wicks, Bath, UK
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