Exclusive interview with marquetry artist Carl Fox

Introducing Carl Fox, a London based, self taught, leather craftsman and marquetry artist. Originally a hairdresser by trade, Carl has dedicated his spare time over the last twenty five years to learn a range of craft skills that have culminated in the practice he has today. Ranging from interior design to upholstery, textile work to furniture restoration, Carl eventually discovered leather craft and it’s been a love affair ever since.

Following an award of studio space and mentoring from the Worshipful Leathersellers Company and Cockpit, Carl was able to develop and evolve his practice allowing him to create art full time.

Here we chat with Carl Fox about his journey so far..

Can you tell us your backstory and how you got into the art world?

The story of my emerging into the art world really spans a period of over 25 years. I grew up on a council estate in the 80s and 90s, and although I had a deep fascination with art and craft from a very young age, we simply didn’t have the means for me to be able to explore this further once I had finished school. At 16 I struggled to understand how I would be able to find a place in the creative world, and so I decided to train as a hairdresser.

I spent 26 years as a colourist, an artform in itself, however throughout that time I dedicated all my spare time learning and absorbing everything I could get my hands on. Interiors to textiles, furniture design to ceramics.

In early 2020 the pandemic arrived and hairdressing obviously came to a standstill. Creativity had always been an anchor for me, and I channelled my free time into exploring a new material, leather. It was an immediate connection. A medium that has been used for millennia, often in a utilitarian manner, I recognised that its potential to be used artistically was incredibly exciting.

Immersing myself in the history of leatherwork, I studied the many ways in which this amazing material could be used. By learning traditional techniques such as saddlery, accessory design and upholstery, I was able to manipulate the hides and develop my own techniques to bring leather onto the canvas.

In September of 2022 I made the decision to focus on my practice and became a full time artist. This has honestly been one of the most rewarding choices I’ve made in my career and, although it took years of persistence, I absolutely feel this was the right time in my life to immerse myself in my journey as an artist.

How would you describe your signature style and technique?

My practice is a culmination of many of the skills I’ve learned over the years. Fundamentally, my work combines the emotional, storytelling aspects of art with the innate connection the viewer has with material, the backbone of the craft world.

I create artworks using the ancient technique of marquetry. Essentially I hand cut individual sections of leather and wood veneer and place them together, as you would a jigsaw, to create a seamless image.

My process is heavily influenced by mid century and brutalist architecture alongside modernist design. Inspired by the work of Oscar Niemeyer, Frank Lloyd-Wright, Miro, Mondrian and more, I use geometric abstraction to create thought provoking, tactile pieces that the viewer can get lost in. I’m fascinated by how memory of time, place or emotion can be triggered by colour and texture alone, without the use of figurative imagery.

Can you tell us more about your latest work? Where did you find inspiration and what is the story behind it?

Most recently, my work has been exploring our deep, emotional connection to both the textures and colours found in nature. I have spent a great deal of time studying the psychology of biophilic design, and how certain materials can actually affect our biology. The theory that by purely seeing or interacting with natural elements our emotions can be affected absolutely fascinates me.

I am currently creating a body of work that stems from a beautiful Japanese word that really has no direct translation, ‘Komorebi’. This word is used to describe the dappled sunlight that filters through the treetops and dances along the forest floor. By exploring the subtle nuances of colour within the natural world, and the almost painterly effects that can be found in wood grain, I aim to transport the viewer to those special moments when they’re alone, surrounded by nature.

Are there any exhibitions or events you are planning? 

I am planning ahead for 2024 at the moment, which is looking incredibly exciting. I will be showing at Collect Art Fair, for my second year at the iconic Somerset House and also at The OXO Bargehouse with Future Icons Selects during London Craft Week. I was recently extremely lucky to be awarded the QEST Carpenters Company Scholarship, which will allow me to train in the amazing art of wood bending. This will mean that I will be able to introduce 3D, tactile, sculptural forms into my practice, taking my work in a whole new direction.

I am also about to launch a collection of made to order editions with Curio, an amazing platform that showcases a huge breath of talent in the art and craft world, an amazing opportunity to marry my love of art and interiors together.

What is the best advice you received as an artist?

I think two things really stand out. Firstly, persistence is key. Keep pushing the boundaries of your practice, but remember the down time is just as important in the long run. Allowing yourself time to stop, gather your ideas, make mistakes and learn from them will make your process better in the end.

Secondly, although it seems obvious, the ‘why’ is so important. I find it so easy to get lost in the details that, before I know it, I’ve forgotten what message I’m trying to get out there. Keeping this in the back of my mind truly helps to keep me present and the creative process flows so much more smoothly.

For more information about Carl’s art and commission enquiries please visit paulovulpes.co.uk

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