Congratulations to Alexandra Harley for earning her place a Winner in the Boynes Monthly Art Award [July Edition]!

Who are you?

I am Alexandra Harley, a sculptor based in London UK, with a studio in Stratford right by the Olympic Park. I ended up doing a foundation course almost accidentally. My father’s promotion meant moving house and the new school had an entirely different curriculum. I went to the art department to fill up my time and the art teacher suggested art school. My parents were trepidation but off I went to do a foundation course where I ended up full time in the sculpture department. During my foundation course a visiting tutor suggested I did my degree at Wimbledon and although I already had a place for my degree somewhere else, she arranged an interview for the next day. Under the guidance of Glyn Williams and a fabulous team of tutors, I loved it. I am still in contact and showing with several lecturers. Originally, I expected to do my degree and move out of London when I finished, however I accepted a place for post Graduate studies at St. Martins and I am still in London. I teach sculpture for a regular income, (keeping the dog fed) which allows me time to work in the studio with no pressure.

What inspired you to utilize sculpture as a medium?

I loved handling material- its as simple as that! Testing what can be done with it, experimenting and finding new ways to make, combine, construct and build.

How would you describe your work?

Abstract, abstract, abstract, if there is a hint of figuration it will be eliminated.

Can you discuss the inspiration and thought process behind your winning work?

Clymdych came about through the fantastic AA2A scheme. The scheme enables artists to access space and equipment in art schools and I made a successful application to Chelmsford College in Essex to use the kiln. At that point I was working predominantly with wood but had got to a point where I needed a jolt and to spend some time with a new- to me – material. I always had found clay ‘tricky’. The year at Chelmsford College was amazing and I was really productive and it opened up far more ways of working and thinking than I anticipated. I was considering junctions and the relationships not just between the individual parts, but also how they related across the sculpture. The wire holding it all together creates a fresh dynamic with a directional ‘pull’. The wire, seemingly slight is a strong component, not just holding it all together but also compressing the space.

Can you walk us through the technical steps of creating your winning work?

My sculptures evolve often over many years. I cannot plan a sculpture and make it, I need time to test out ideas. I do have a very clear objective when I start out, I know what I need to achieve but there will be several, sometimes many, attempts. So -I have what I think is a fantastic prize winning idea, I try….fail, I try again, fail better. I have several very good sculptor friends for suggestions and try again!

What do you hope to communicate to an audience with your work?

I want to make sculpture that intrigues and encourage people to look more. What they see is up to them, I cannot predict or force any particular view. I hope people will be confident to come to their own understanding and interpretation. 

Can you talk about your biggest learning experience during the process of creating your work?

I have watched a wax sculpture melt in the heat which was upsetting. Apart from that, sometimes what initially is perceived as a failure, i.e. not what I set out to do, does move my sculpture on. This happens regularly, it is an expectation every time I go to the studio. Sometimes I leave something I am really happy with it and see a massive glitch when I next go in. Two steps forward and often one step back.

Can you discuss your biggest success since starting your artistic journey?

An artist writer thought I should apply to the Royal Society of Sculptors. To my amazement I was accepted. I was reluctant to apply, I really didn’t think I was ready or good enough so I made the application without telling anyone else. Being accepted was a massive confidence boost.

Can you give us a piece of advice you wish you had known at the start of your career?

‘What have you got to lose?’

What projects are you working on currently?

I always have several sculptures on the go. Sometimes there is a technical reason such as waiting for some glue to dry, or for clay to go into the kiln. Other times I am just not sure what to do next, I turn the sculpture round, move it to a different place, take it outside, anything that helps see it differently and more fully. There is always a paper sculpture somewhere nearby as many ideas are tested in paper first. Some of these paper sculptures have been cast into bronze and others have been worked up into sculptures for themselves. In the workshop right now, is a small bronze I cast with a friend which needs cleaning up, a huge pile of wood that has been sliced on the bandsaw, and a ceramic piece that I am testing the finish with. There are always drawings on the walls too and several sketchbooks handy.

What is your dream project or piece you hope to accomplish?

To keep going is a good plan, I would love a large scale project somewhere.

As a winner, do you have any advice for artists who want to submit to awards, competitions, residencies, etc.?

Don’t give up! I was told at art school that for every 100 applications there will be 99 rejections, -a 1% acceptance rate! For a juried show, you cannot second guess what else will be submitted so put in the piece you are best pleased with.

Lastly, I like to ask everyone what advice they would give to their fellow artists, what is your advice?

Be bold!

To view more of Alexandra Harley

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