Crafting Collaboration with Sue Paraskeva and Seb Cox
British Craft – The Miami Edit ran from 23 January to 21 February at The New Craftsmen Studio.
\nCollaboration offers makers the opportunity to share concepts and skills, resulting in works that expand the boundaries of each discipline. ‘Broken, Cleft, Thrown and Planed’ (2017) by Sue Paraskeva and Seb Cox is just such an example, bringing together ceramics and woodworking to fabulous effect. We sat down with Sue and Seb to explore how their relationship grew to deliver such a stunning example of craftsmanship. This piece showed at our Mayfair space as part of British Craft – The Miami Edit, presented in partnership with the Crafts Council. Featuring 10 rising stars of making, this exhibition showcased a breadth of disciplines, and demonstrates the vibrancy of the contemporary craft scene.
\n \n \nWhat motivates you to collaborate with other makers?
\nSue: I enjoy working alone, but it is refreshing to work alongside other professional makers. The interdisciplinary relationship is exciting and moves work forward in unexpected directions, keeping work fresh.
\nSeb: I’m driven by an excitable, desire to experience and eventually master other crafts. If I find myself drawn to metal work or glass blowing I find a way to collaborate with someone who has expertise in that area. There are so many transferable and complimentary skills across different materials and means of making, collaborating can only be beneficial to the work you produce.
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\n ‘Broken, Cleft, Thrown and Planed’ (2017) by Sebastian Cox and Sue Paraskeva. Photography: By the makers.
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How did this particular collaboration come into being?
\nSue: My application for the British Craft – The Miami Edit was with my latest porcelain installations and one-off pieces. Sebastian Cox was mentioned in a presentation and I suggested to The New Craftsmen and the Crafts Council I could collaborate, using my new smashed and joined porcelain installations.
\nSeb: Sue had suggested we might be able to make something in collaboration. She must have seen and felt the similarities in our work in terms of delicacy, strength and tactility.
\n \nDid you agree a conceptual approach and/or making process beforehand or was it an organic experience?
\nSue: An initial meeting with Sebastian at The New Craftsmen was easy and organic. I brought samples of porcelain and we looked at various woods and traditional British furniture. A few drawings were exchanged, and we agreed on the concept. We are both traditional makers taking our materials to their limit and have similar approaches to the contemporisation of British Craft. ‘Broken, Cleft, Thrown and Planed’ was made with porcelain and silver, English Elm and coppiced Chestnut. These materials brought out the best in us both, allowing us to expand our skills and really learn from each other.
\nSeb: It was an incredibly efficient, productive, and organic experience. Sue brought some of her porcelain to a meeting and it felt immediately as though we would complement each other. We discussed some designs for a traditional piece of furniture – the Welsh dresser – and sent drawings back and forth to create the collaborative piece.
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\n ‘Broken, Cleft, Thrown and Planed’ (detail) (2017) by Sebastian Cox and Sue Paraskeva. Photography: By the makers..
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What were the challenges you faced in this collaboration?
\nSue: There was a short time-scale, defined by the shipping deadline to the US. Our busy working schedules and the distance from the Isle of Wight to London effected the realisation of the collaborative piece, encouraging us to stay connected in the virtual world, rather than the physical. That said, there was a real synergy to the way we worked together. This is something that craft makers often aspire to, so to realise it in this project was really special.
\nSeb: Working long distance was a new approach for our workshop. Ordinarily we operate in quite close proximity to potential collaborators. But in actuality, the process was so smooth and our work so cohesive that it never proved to be problematic. We only physically brought the furniture and porcelain together at the very last moment, before the work was due to be collected to go to Miami. Again. This could have been problematic, but was incredibly enjoyable and together we made something we’re both really proud of.
\n \nWhat was the most rewarding aspect of the process?
\nSue: The initial installation and photography session was a success, and we trusted each other’s professionalism. It was good to see the work installed in Miami, and looking so fine as part of the overall curated exhibition.
\nSeb: Getting to know Sue personally. She’s hilarious, wise and really fun.
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\n ‘Seb Selecting Timber’ (2017). Photography by the maker.
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How has your approach to making been affected by this experience?
\nSue: An increased confidence in realising ideas that are linked with other makers. It was a joy to work with Seb and Brogan (Creative Co-director, Seb Cox Ltd) on this piece of work and I look forward to future projects.
\nSeb: This collaboration has brought me closer to the workbench. Recently I have spent more time designing and running a business and have felt a need to create a body of work that is only made by me. British Craft – The Miami Edit was the perfect opportunity to start this body of work.
\n \nSo often we think of the lone craftsmen, working away in their studio, perfecting their skills over decades. Yet it’s clear from Sue and Seb’s experience that the craft of collaboration yields rich and vibrant results, enhancing each maker’s understanding of materials, process and potential.
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