Kate Reeve-Edwards meets the mobile sculptor in his studio.
Mason creates dynamic sculptures that investigate balance and lightness. His sleek, contemporary forms, filling space with little weight or volume, move gently, changing their relationships with each other. He uses ethically sourced tropical woods such as rosewood and ebony, which have dense tones and patterns, complimenting the simple shapes. He also runs the Emma Mason Gallery in Eastbourne with his wife.
What’s the first thing you do when you get in the studio?
I make a cup of coffee – black.
How do you start a piece – do you draw ideas first, or get stuck in with the materials?
A combination. I have a sketchbook where I draw these very spidery doodles. They are definitely a starting point, often inspired by me seeing a particular shape or texture I find interesting. Then, as I begin working with the materials, they naturally expand the idea.
Tell me about something that has inspired you recently.
I found some scratched pebbles on the beach which inspired a doodle. On the last big piece I made I scratched into the oak and added Indian ink into the marks before sanding it back, leaving a sgraffito effect.
Why do you enjoy working with wood?
I use both wood and metal, but I particularly enjoy wood because of the natural aspect. A lot of my work is to do with wind and movement, so the wood lends itself to creating forms that could have been shaped by the elements (like the wind or the sea).
Why do you enjoy exploring balance?
I’m not a naturally patient person; I’m a rusher. There is an element of me having to steel myself to make a piece work. I have to battle with my impulsive demons to stop me just throwing it on the floor! And balance is meditative. When mobiles work there is this peace to them. Balance and harmony do mean something to humans, so I enjoy making work which imbues these qualities.
How has running an art gallery contributed to your practice?
People always say: ‘I love it, but I don’t have any wall space,’ so I created work to hang from ceilings instead!
Really?
In truth, my daughter was studying A-level art and I helped her to make a mobile for a project called ‘Suspension.’ I enjoyed what we were making, so I thought I’d rather do that instead of printing or painting. I like that you start with nothing there at all: no wall, no canvas, no paper. I enjoy creating something which has little weight but has a presence in space. And they are joyful because they move and change.
What piece are you most proud of?
Constellation 735. It’s one of the largest pieces I’ve made recently – nearly two metres across – in steel piano wire and brass. It was a recent commission from an interior designer for a beautiful sitting room in a large house in Islington. It has been hung from the original ceiling rose and fills the space without being overpowering. The brass catches the light and throws golden reflections around the room.
Why are numbers included in all your titles?
Most of them are named after how much they weigh in grams. The titles describe how they exist in the world.
Tell me about a project you’re working on at the moment.
For Sussex Craft Week, I’m doing a ‘pop-up studio’ in our gallery. I’m moving all my tools and pieces in progress from my studio, so people can see me working on things and have a chat (see p.11 of the Sussex Craft Week Guide).
Interview by Kate Reeve-Edwards
Find Richard in themakersdirectory.co.uk