Knockout
Artist Olivia Bax spent a month as an artist in residence at the studio gallery exploring new materials…
“During the residency I learned about the bronze casting process and made my first bronze sculptures. This was something I was curious to try but never had the financial means or support to realise. As well as working with bronze, I also made my first outdoor sculpture using steel and concrete. The residency ended with an exhibition in the gallery where I exhibited 8 table sculptures and the large outdoor sculpture. There were visitors who came to see the work from London plus local visitors who were interested to see the show. The opportunity to learn new processes and work with new materials was hugely stimulating. It has given me a chance to show that my sculpture practice can be versatile”.
Vide Poche (Bubblegum) Steel, Plaster bandage, Paper, Paint, Glue & Plaster 53 x 34 x 53 cm
Vide Poche (Pumpkin) Steel, Lead & Paint 44 x 50 x 33 cm

Hot Air Steel, Concrete, Paint & Blocks 236 x 145 x 155 cm

Exhibition View Knockout Olivia Bax
Vide Poche (Weave) Steel, Lead & Paint 52 x 35 x 30 cm
Vide Poche (Conker) Steel & Bronze 52 x 40 x 44 cm
Vide Poche (Denim) Steel & Bronze 40 x 26 x 40 cm
Vide Poche (Raspberry Ripple) Steel, Bronze & Paint 80 x 44 x 45 cm

Hot Air Steel, Concrete, Paint & Blocks 236 x 145 x 155 cm
About the Artist
Olivia Bax (b. 1988) is an exciting new talent in the field of contemporary sculpture. Grounded in sculpture’s histories and engaged in its futures, she spent her early twenties working as a studio assistant to Anthony Caro and after this working on the sculptor Charles Hewlings’ archive. This unique sculpture background is also reflected in the recognition she has received in recent years, awarded the Kenneth Armitage Young Sculptor Prize in 2016 and presented with the Mark Tanner Sculpture Award in 2019.
Home Range, which showcases a cluster of Bax’s recent works, highlights many of the tendencies for which her sculpture is now becoming known. Bax is a sculptor who brings things together, creating ensembles of found and made objects, held together by metal armatures, chicken wire, cardboard and paper pulp. Her handling of these materials runs with and departs from established sculptural processes, simultaneously constructing, welding and modelling, and using the metal armature both as an inner supporting structure and as an active component of the final sculpture itself, pushing through and out of the modelled paper pulp.