Steven Cox

Can you describe your work in three words?
Layered. Textured. Vibrant.

What got you into the arts? How did you become an artist?
I remember visiting the Aberdeen Art Museum with my mother and grandmother in the early 1990’s when I was around 7 years old. I stood in front of Francis Bacon's painting, Pope I (Study after Pope Innocent X by Diego Velázquez), and thought it was the most incredible thing I had ever seen. It certainly made an impact on me. I’d say, since then I have been completely immersed in and mesmerised by art history and enchanted by the profound effect a painting can have on an individual. I believe I truly became an artist when I chose to commit my life to the arts by following a path to study Fine Art at Duncan of Jordanstone College of Art in 2004, embarking on this journey at just 17 years old.

What drew you to painting as a medium?
Painting as a medium is complex and challenging. To me, painting is about discipline, intention and process. I am fully captivated by the potential of paint and the defining characteristics of the medium itself: colour, texture, line, process, shape. I have always been curious about how to manipulate paint; how to combine pigments, mediums, and develop unique painterly processes. I am endlessly excited about the possibility of creating something that doesn’t exist naturally.

You use a very unique technique when making your paintings. Can you tell us more about your process?
My painting process blends a methodical approach with elements of improvisation and unpredictability. I apply thick layers of vibrant oil paint to the canvas using a monotype technique. This involves spreading oil paint onto large sheets of plastic and then transferring the oil paint to the canvas. Typically, each painting consists of anywhere between 5-7 layers. I meticulously plan the base layer and colour palettes in advance, often experimenting by first creating small-scale paintings on uPVC. Despite this preparation, the outcome of my paintings remain uncontrollable, unpredictable and unforeseen.

Your works are characterised by a rich and vibrant palette. Can you tell us about your use of colour?
Colour is the most important ingredient in my paintings, for the entire mood or feeling of the painting is influenced by both the arrangement and layering of my chosen colours. Often the colours are selected by referring to either specific colours found in advertisements or more carefully selected through colour matching delicate colours found in photographs that I have personally taken whilst going about my daily life. Josef Albers' book Interaction of Color has also been a constant on my studio desk for years, it’s always invaluable to look back and remind myself of the critical behaviour of colour itself. Colour is fluid and contingent.

What do you hope to capture and convey through your work?
I view abstract painting as a pursuit to poetically capture the essence of an experience or object, transforming and reinterpreting it visually to reveal its unseen dimensions. I am particularly fascinated by the textures of urban decay—such as peeling paint, weathered walls, and residues of human activity. These often-overlooked surfaces intrigue me, as they embody the passage of time and provide an endless source of inspiration. I wish for my paintings to have an open dialogue with the viewer, and for the viewer to enjoy these paintings on their own terms.

Who are the artists that have inspired you most?
I’d say that there are specific series of artworks by artists that really inspire me, and in some cases they could be a surprise to most if I were to fully share. Though more generally, I find the vibrancy of colours and uniqueness of painterly processes explored by Frank Bowling to be incredible. The brutal physical nature of Sterling Ruby’s paintings is powerful. I am in awe of Ruby’s constant self-cannibalisation. Christopher Wool handles paint in ways that appear effortless whilst being so carefully planned and executed. The list is endless.

What interested you about joining Canopy Collections?
Canopy Collections is redefining and revolutionising how the viewer can discover, engage with and experience art. This expertly curated platform is wonderfully structured and the selected artists are commendable, demonstrating Cécile and Louise’s discerning vision and taste. I have full confidence in their approach, and I'm thrilled to embark on this personal artistic journey with Canopy Collections. Thank you! 

Do you collect art from other artists? How important is it for you to live with art?
Absolutely! I am fortunate to own around 80 works of art in my personal collection. It's common for artists to occasionally exchange artworks as trades though I do my best to collect new drawings and paintings as regularly as possible.

Any projects in the pipeline?
I am currently in the process of planning a selection of paintings for NADA Miami where I will be exhibiting with Halsey McKay Gallery. I recently held a solo exhibition in East Hampton with Halsey McKay Gallery so it will be an absolute pleasure to follow up on this exhibition by presenting some new works with them this December.

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