https://www.sophiecoxartist.com/work-avenue daily 1.0 2023-12-19 https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1585271063824-M4YY21XNNY1A8Y4IBIUH/soundsofthecity Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1585272664709-9WP57PLODBOY939ZREIU/thewallshaveears Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1618108070548-3CUTRUQS7CVKYZZL6UVA/IMG_6010.jpg Work Sophie Cox, Madeira Apron, 2021, paper, pastel and pen https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1618107614561-27VO51FMVZUS1ZMW4OU4/IMG_6009.jpg Work Sophie Cox, Apron or artefact, 2021, paper, pastel and pen https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1618108358763-99BAQ883BHK9W5DO0LL4/IMG_6021.jpg Work Sophie Cox, Spring, 2021, embroidery thread, fabric and postcard in vintage frame https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1618108676291-030JAUXHSMB8H7Y2UGDX/IMG_6020.jpg Work Sophie Cox, Winter, 2021, embroidery thread, fabric and postcard in vintage frame https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1618107924270-3NXWBYCV00GOVFD8UH92/IMG_6008.jpg Work Sophie Cox, Aprons and you, 2021, paper, pastel and pen https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/bbb8286e-7d06-47fd-9398-ce16b8287008/4.jpg Work - Make it stand out Sophie Cox, Mule, (2023), paper, pen on tin, 25 x 35 cm Trondheim, (2023), paper, pen on tin, 30 x 30cm Volendam, (2023), paper, pen on tin, 30 x 30cm (from left to right), image courtesy of Airspace Projects https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/9488223e-f3ac-4b14-845c-3a394c769f92/1.jpg Work - Make it stand out Sophie Cox ‘Signature artists’ (left), (2022), embroidery thread on linen 2m x 2m, After image,(right) (2022), embroidery thread, transfers on linen, 1.7 x 2m, image courtesy of Airspace Projects https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/720ec8f6-3109-452b-b1fa-9b6e8a5368d5/5.jpg Work - Make it stand out Sophie Cox, detail of After image,(right) (2022), embroidery thread, transfers on linen, 1.7 x 2m https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/e6912645-40b0-4288-b9e0-8087e0e5aaf2/2.jpg Work - Make it stand out Sophie Cox, gallery view of works on paper for the Forgotten Women exhibition, exhibited at Airspace Projects February 2023, image courtesy of Airspace Projects https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/7ef25622-8e48-4716-854d-f665f211cf8f/tempImageUyHufu.jpg Work - Make it stand out Sophie Cox, Hot on top, linen and thread with beads, fake fur and lace, 270mm x 870mm, 2023 https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/ba7cf058-6a0b-4f8b-bc23-e11cac6f7ae0/tempImageA5lxyZ.jpg Work - Make it stand out Sophie Cox, Easy as ABC, thread on cotton, 410mm x 300mm, 2023 https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/246d8767-4cd7-4a70-82f4-3c0454163513/tempImageiK4ZQv.jpg Work - Make it stand out Installation view of Protest and Survive exhibition, left Sophie Cox, No more crosses, thread on cotton, 1060 x 1430 mm, 2022 right Forgotten women, thread on cotton, 1350mm x 1520mm, 2022 https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/d0a8fd10-72ed-4660-ba19-365ca21e5872/tempImageUBsnw7.jpg Work - Make it stand out Sophie Cox, Chinatown Shopping List, 2023, linen, thread, steamer, rolling mat, 30cm x 30cm, image by Sophie Cox https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/74252d60-9ec2-4f3f-9b14-f23b829731e0/tempImageRmXhTq.jpg Work - Make it stand out Sophie Cox, Fruit Bowl Cut, 2023, fake fruit and pen, 45 cm x 7 cm x 7 cm, image by Sophie Cox https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/124d68d3-97f5-4f97-bd0d-29bd4a0db09a/tempImageHLhUdW.jpg Work - Make it stand out Sophie Cox, Noni’s Caramel Sauce, 2023, linen, thread and baking accoutrements, 30cm x 15 cm, image by Sophie Cox https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/5e38ee51-5124-4a63-8874-9b00361d59fc/tempImage4GEz4W.jpg Work - Make it stand out Sophie Cox, Just eat the biscuit, 2023, felt, thread, wooden box, 15cm x 7 cm, image by Sophie Cox https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/7e23a953-fa26-45f4-88a8-f43a38210a92/tempImageWBOekB.jpg Work - Make it stand out Sophie Cox, Finding a place, 2023, charcoal rubbings on linen, embroidery thread, 2.5m x 1.2 m, image by Sophie Cox https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1552613777717-2DN4RHTWDCGUWRPTQ424/rsz_1rsz_1rsz_img_1729edited.jpg Work - Classification to chaos Sophie Cox, detail from Classification to chaos, 2017, wooden drawer, polymer clay, UV light, acrylic paint, catalogue. Museums have long been a place where humans have attempted to classify the multitude of objects and organisms that make up our universe. From the cabinet of curiosities of Renaissance times, to the first recognisable museum of natural history; The Musee National d’Histoire Naturelle, which opened in Paris in 1635, categorising has been a way in which humans have made order from the disarray. The work, ‘Classification to Chaos’ is inspired by the museum and its notions of organisation and control. This is exemplified through the collection of beetles in their neat, ordered rows. These specimens, reminiscent of real beetles, are arranged in the typical fashion in categorised boxes. Accompanying them is the museum catalogue, charting each beetle, a document of scientific order. Inside the darkened room, however, the beetles are escaping, crawling out of their controlled domain, swarming radioactively. The contrast between the two spaces is marked- the light; suggesting knowledge and the known, to the dark; symbolic of the unknown, the future, uncertainty. This futuristic landscape conveys the force of nature, as they flee from the human world, whose experimentation and environmental fallout has given them a luminescent glow. https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1552625043746-R516JJ0RJ33MY1FJGESS/IMG_2741.jpg Work Sophie Cox, Language of the street, 2017, digital collage, Image by Sophie Cox There is a language known only to construction workers. Lines of spray paint in lurid colours, cryptic numbers, and words like TBANK and BDC, amongst arrows and dots. These mysterious markings, hieroglyphs of a modern era, are intriguing. The work ‘Language of the Street’, aims to catalogue some of these symbols and to shed light on their aesthetics, the way in which they evoke abstract paintings or collages. It also follows with the artists’ preoccupation with the everyday, and the poetry that can be found in the seemingly ordinary parts of life. https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1552525976008-DSVB56THICTIQD4C5PNI/photo+of+hope+youve+been+good+by+me+.JPG Work Sophie Cox, detail from Worthy sayings for good children, 2017, embroidery hoops, linen, thread, vintage chairs, image by Sophie Cox ‘Worthy sayings for good children’ was inspired by two overheard phrases; ‘Elsie, do you want to be taken by a strange man?’ and ‘I hope you’ve been good, there are cameras here,’ both said to small children. Cox was drawn to these phrases firstly for their unintentional humour, and also for what they say about modern society. The fear that underlies each statement, and the sense of a surveillance culture, where children are in danger, intrigued me. The sense that children must behave or something terrible will occur also interested her. The intensity of these statements, spoken with such seriousness, made them somehow humourous. The use of cross-stitch was inspired by samplers, where cross-stitch was used to create moral phrases and statements that were made by children to inspire good behaviour. Her work is a modern equivalent of these samplers, using phrases intended to bring about good behaviour in children. The phrases are displayed with two wooden children’s chairs, both a vintage throwback that references the historical nature of cross-stitch as well as alluding to the children that are the recipients of these statements. https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1552439879052-EX7MCQYPYYW8EIEY43GL/GradShow2018_SophieCox_07.jpg Work Sophie Cox, Overheard in the city, 2018, linen, thread, embroidery hoops, wallpaper, plastic plants, wooden bench, image by Kim Nguyen A stranger utters a phrase. An artist records it. The stranger walks on. The artist carefully embroiders the phrase into linen and displays it for others to consider. This is the process of the work, Overheard in the City. Phrases are gleaned as Cox passes through the streets of Sydney and transformed into embroidered works. These pieces, or samplers as they are known, connect to a long history of stitching and its feminine connotations. In collecting the phrases, Cox acts as a contemporary flaneur, an urban wanderer, moving through the city streets practicing what the avant-garde group Situationist International called the dérive. The phrases are chosen for their often-unintentional humour, fitting with her belief in humour as a strategy through which social issues can be considered. Phrases such as ‘security can’t tell if you’re pissing in the pool,’ and ‘strutting about like a silverback gorilla,’ are intended to be comic, but also poetic. Each phrase is a fragment of found poetry. A found poem is made up of words collected from a variety of sources including newspapers and books. Each stitched piece is complemented by the brick wallpaper, printed from a photograph. The bricks are accentuated by ferns and a park bench, alluding to the cityscape which the phrases come from. The pace of the stitching, the slow push-pull of the thread through linen contrasts with the space from which each phrase was collected. The fragments of speech were gathered in the city, a space of frenetic pace, and constant movement. As Cox passed through the city collecting words from strangers it was as though she was on a conveyor belt, gathering what she needs from fragmented speech before moving on. Back in the studio the speed is slow. The process is careful and labour-intensive. Stitches are counted, thread cut into lengths, needles threaded. The blunt-ended needle tugs its way through the thick linen, forming crosses as it goes back and forth.This is the process of cross-stitch, of forming words and suspending sentence fragments onto fabric, of reframing and catching strangers’ sentences and working them onto cloth. https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1552614543395-3P42X79J857VF9KMWDI9/blue+glass.jpg Work Sophie Cox, detail from Patchwork Museum, 2014, archival photograph, Image by Sophie Cox Collections hold memories, moments and places within them. ‘Patchwork Museum’ aims to condense these ideas into one space that encompasses the artists’ history of collecting. Collections have a familial history for Cox, who hails from a long line of collectors. The collection also holds an important place in the museological history of art and the classification of artefacts. bringing objects that are seen as ordinary and familiar and elevating them to the status of that of a museum object through the use of the grid, the artist aims to question the place of the common, domestic object in the art world. https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1552548828018-CS4JIRU9FHYLRH3JAS96/IMG_2763.JPG Work Sophie Cox, In memories light, 2017, album, photographs, wooden shelf, table, poetry. Image by Sophie Cox When recalling a memory there is often a moment of light, that fills the minds eye as the moment is brought back from the memory store. It is this light, that haziness of memories that Cox wanted to capture in this work. A trio of Polaroid-style photographs, accompanied by a poem, make up each page. The photographs, through their light-flooded nature, echo the washed-out quality of memories. Each spread is of a place of significance to the artist, somewhere that she has memories about, from her childhood street to the park she grew up playing in. It is a nostalgic document, an attempt to clutch at the impossibility of places remaining the same. https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1552613309158-H0UMP9U5SE7SF4LY719R/rsz_4rsz_1rsz_img_2477.jpg Work - Into the blue: a jellyfish elegy Sophie Cox, Into the blue: a jellyfish elegy, 2018, archival photographic print on pearlescent paper, Image by Sophie Cox Mortal jellyfish, photographed as they beach on the coast, their gelatinous bodies devoid of life, yet still moved by the constancy of the waves. Unlike the turritoptis dohrniii, their immortal cousins, these jellyfish cannot rejuvenate. The immortal jellyfish can transform from a fully-developed adult to a polyp and begin life again if their life is threatened. But this species photographed, the Blue Blubber, or Catostylus mosaicus- is not fated to spend eternity floating through the oceans. Instead it is time is short. These jellyfish washed up, gifts from the unknowable ocean, and were inspired by the beautiful, ethereal photographs of jellyfish taken by masterful photographer, Brett Weston, who so wisely stated in an interview that ‘Nature is a great artist. The greatest.’ https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1557733157301-8UN4SOAFXUVK39UO3NVK/2editedIMG_3887.jpg Work Sophie Cox, Japanese Bowls from the series Domestic Grids, 2014-, postcards, watercolour paper, balsa wood, glue https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1585271294428-9ENJ4UC7XC2ESPI3LI4Q/soundsofthecity2.jpeg Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1585273171811-VN7MK16M7DY5RA1ZU152/thewallshaveears2.jpeg Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1557733578769-GPAJ33M7492BSSFHAI1L/edited+IMG_2866.jpg Work - Looking out, stepping in Sophie Cox, Looking out, Stepping in , 2015, gelatin silver pinhole photographs, Image by Sophie Cox Like many aspects of pinhole photography, the concept for this series came about by chance. Cox propped a magazine up against a box and photographed it. When developed, the magazine had transformed to appear like a doorway to another world. This prompted and exploration into the way in which this could be incorporated into photographs, using layering through dodging and burning and digital negatives. The doors and windows act as a metaphor for the camera itself, and its ability to provide us with a view onto another world. We look into these other worlds through the photograph, whilst simultaneously stepping out of our own. The landscapes photographed transform everyday gardens and buildings into mysterious places, worlds of miniature people and hidden lands, with the doors and windows leading the viewer into this space. There is something almost magical about old-fashioned photographic techniques, and the works evoke this sense of mystery and fantasy, that feeling of amazement when the photograph comes hazily to appear in the darkroom’s developer. https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1614580438366-KUTIHM4MUY8M3K2EV2XZ/IMG_5945.jpg Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1618109097714-QWV0I2TGBNJOYPHPR5H2/IMG_6021.jpg Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1676857775678-MO3LY0PBPOZHBXLUANYX/5.jpg Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1691022597549-X9DXR33TDBTB1MOHF00N/tempImageM2nQAe.jpg Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1702958245546-W3AJSDTXJYT5Q2J4JKO8/tempImagevi0T4t.gif Work https://images.squarespace-cdn.com/content/v1/5c833bfaf4e53179029f9102/1702958723177-S2UJQFE162PJ82QGTWZH/tempImageCOZtat.jpg Work https://www.sophiecoxartist.com/about daily 0.75 2025-04-08