In the Studio with ceramicist and sculptor Jo Lucksted

Jo Lucksted's work is striking and unconventional in its subject matter. Strongly influenced by carvings in the cathedrals, churches and graveyards of her native Somerset, wonderfully detailed ceramic sculptures of angels and mythological figures abound, capturing the imagination. 

This week we caught up with Jo about her artistic evolution, sources of inspiration and her studio in Shepton Mallet.

Jo, when did you first realise you had artistic leanings?
From a very early age really, it was probably at primary school that I first picked up clay and straight away the concept of in some way being able to create for your own pleasure became apparent. Throughout my childhood and teenage years art was a primary interest, whether that was through producing work myself in a range of media, appreciating book illustrations, having an interest in art history, visiting museums and galleries...I think I was a bit of a sponge soaking it all up.

When did you decide to do ceramics/sculpture?
It's just always been what I've done best and how I've best been able to express myself. Again it goes back to that childhood thing of wanting something, then making it. I was very lucky at secondary school in that when I was doing Art at 'A' level we had a well equipped 3D department, and the tutor, Mary Price, encouraged us to work in a wide range of sculptural materials such as chalk, plaster, wire, alabaster and clay. There were potters wheels in the sculpture rooms but I don't think I ever went near them at that point! 

What inspires you?
Beauty in nature and art, and real skill and expertise in craftsmanship.

Who have you most been influenced by?
I still have the book Masquerade, written and illustrated by Kit Williams, which was given to me when I was about 10 years old. I have immense respect for Williams' artistic skills, in painting, jewellery and puzzle making - a real craftsman and master of many craft forms. He made me realise that you don't need to feel like a jack of all trades and master of none if you spread your wings and work in a range of media.

I think John Maltby's ceramics are amazing, the marriage of surface decoration, the palette he uses, the figures and heads are really gorgeous. I have tried to achieve some of that simplicity and cleanness in my own work.
Edwina Bridgeman makes the most exquisite mixed media narrative scenes. Her little figures have amazing presence and personality, and she's able to combine a variety of found and manufactured objects and natural forms and bring them together without it ever looking like a jumble.

I get a lot of inspiration from paintings-I would love to be able to paint but am well aware of my limitations! I particularly love Stanley Spencer, the brutal frankness of his self portraits contrast with his sentimental depictions of an imagined Utopia, mostly set in the village of Cookham. 

There is also something in all of these artists that is uniquely English, an eccentricity that really appeals to and inspires me.

What's your studio like?
My studio is actually a shop on Town Street in Shepton Mallet. When it came up for rent I took it on as my workshop space and use the front  room to display finished pieces that haven't made their way into a gallery yet. I quite enjoy the aspect of putting up window displays now, although initially I definitely hid from view when I first moved in and began working from there – I felt like a goldfish in a bowl! The back room is where I work and because there are no windows I have plenty of wall space to cover with photos and inspirational postcards. I also have shelves covered with bits and bobs that I have collected, natural objects, old and vintage pieces, books, generally the 'creative clutter' that would drive my family mad if it was at home. Because I'm on the high street I'm used to people wandering in to chat, to  see what I've made and what is going on so it's a very sociable space which I enjoy.

Describe the process from conception to completion.
Often I run ideas around my head when I'm in bed, those moments before going off to sleep are perfect because my brain is at it's most uncluttered.Once I've got a mental  picture of what I want to do I like to get it down in a sketchbook and refine it. That helps to get me thinking about the technical side of making it and clarifying what is and isn't achievable with the clay. I work best if I have the finished concept completely clear in my mind before I pick up any clay...I can't begin with an 'I'll see where this takes me' approach. 

With certain pieces I use press moulds of my own construction, finishing each piece by hand to give it it's individuality, but a lot of the time I'm hand building from scratch. It's a very slow process, and often I have to put work to one side to harden up before I can do the next stage. In my workshop at the moment for example I have 4 busts that I'm making for a commission, out of their moulds, cleaned up and waiting to dry out a little before I add on wings and sculpted decorations, they will then be put to one side before I incise the final details, giving them their faces and 'personality'. Once dried out and bisque fired I apply colour – I tend to use underglazes as they are more consistent and reliable than oxides. Any touches of transparent glaze are used to highlight areas that may have gold lustre applied in a third firing, or just to intensify the underglaze colour where desired. I've recently made the switch to working only with stoneware clay so after the stoneware firing I give the pieces their final check over. If I'm not lustring the work I normally apply a little gold leaf instead – I love the contrast of neutral matt colours with a little bit of shiny gold.

What do you love most about what you do?
It's certainly not the financial rewards, but it is very satisfying to be able to look at a successfully finished piece and think 'I did that!'...That's usually when I begin to worry about whether I'd ever be able to do it again! 

We have a beautiful selection of Jo's figurative sculptures and ceramics at the Gallery. Please pop by for a closer look. During Cornwall Open Studios May 28th - June 5th we are open daily 11am - 5.30pm.