Inside the Studio of Thomas Joynes

Thomas Joynes is a contemporary British sculptor creating abstract works in metal, informed by the geometric patterns found in nature. He has recently joined Eden Sculpture and last week, I visited his studio in Dorset to find out more about his practice.

I follow a winding stone path (in the appropriate footwear I was instructed to bring!) to Thomas’ studio. Three of his works stand on plinths outside the workshop and I am greeted by the noisy squeals of guinea pigs that share this corner of the plot.

The studio is spotless, one side having been converted into a mini gallery, with a series of his works standing on plinths against a white backdrop. On the other side, he is working on a new commission, a curvilinear bronze form, nearly two metres tall. 

He talks about his work in a straightforward, unpretentious and honest way.

“I really like shape and form and the influence of mathematical patterns in nature. I’ve never been keen on trying to directly replicate anything. Although I love nature and the forms you find within it, I would never try to directly represent it because I think they are beautiful as they are. I love spirals and curves, hence my use of Fibonacci in a lot of my work. If you do the maths right and keep things simple, you can end up with some really lovely forms.”

In front of us is a recently finished piece, Aurora, formed of a series of bronze strips fanning out from a central point. I am mesmerised by the surface that modulates between turquoise and a deep blue, like looking at a Caribbean sea. Thomas explains that he developed his patina “through lots of experimentation. It’s alchemy basically! A patina is very organic and changes over time.” He excitably describes the “deep chestnut and brilliant verdigris” that emerge from bronze over time and his desire to capture this effect.

In the corner of the studio, two maquettes rest against the wall, made of what looks like piping. Thomas picks one up, a playful copper spiral, and confirms my suspicion. “My father was an engineer and I used to watch him work, soldering copper. It seemed like such a magical process and sometimes he would let me have a go. I like the warmth of the material. That's where my love of copper and similar materials grew from.”

Next to these maquettes is an organised stack of offcuts. Thomas is careful and considered with his materials, nothing goes to waste. He explains, “from a previous commission, I have several bronze strips left over. I know how much is there and I’m constantly thinking, what can I do with that? What's the best thing I can make?”.

The conversation moves on to his background. He describes his time at art school fondly, remembering the freedom of the environment and the wonderful eccentricities of his teachers and peers. “I went to art school in Norwich. It’s a lovely city. There is a great creative scene there. I used to cast big blocks of plaster of Paris and carve directly into them. The course was very open and welcomed all disciplines so I also got into experimental photography. I would use torches to draw with light and capture it with long exposures. It's physical and in that way it was very three dimensional, like my work now.”

Stainless steel wire is a motif that appears in much of Thomas’s work, reminding me of Barbara Hepworth's String pieces. His face lights up at the mention of her name. “Through my experiments with plaster of Paris, I discovered the work of Henry Moore and Barbara Hepworth. Her works are effortlessly beautiful. They are simple. They aren’t pretentious. They are made up of these lovely flowing forms and curves."

“After university, I worked for the sculptor Angela Connor. Angela was an assistant to Barbara Hepworth in her St Ives studio but she never told me! She was an amazing person, a brilliant artist, eccentric and knew everybody.”

Hepworth’s work formed a solid foundation for Thomas, from which he has forged a singular style, characterised by delicate forms abstractly representing the intricate patterns found in nature. His works in copper and bronze are expertly treated, resulting in wonderfully vibrant blue-green surfaces, whilst his polished stainless steel sculptures have brilliantly reflective surfaces that bring light to the spaces they are exhibited in. 

To find out more about Thomas's work, visit his artist page here

To make an enquiry about commissioning Thomas, the fastest way to connect is via our contact form here