Luke Edward Hall has quickly risen to fame.
His lucid style harks back to a bygone era of myths and legends whilst feeling distinctly 'now' thanks to his use of colour and pattern.
Let’s start from the beginning…. Did you grow up surrounded by creative endeavours? Were you always painting and crafting as a child?
I was! I was always drawing and making things – I remember the odd piece in particular, like a watercolour of my grandmother’s biscuit tin which had a lovely still life of fruit on it, and a cardboard model of Tower Bridge that I made one summer with my siblings. It even had a working drawbridge.
How would you describe your aesthetic?
Very colourful, romantic and playful. I am inspired by my love of the past, but I aim to make work that feels contemporary.
Let’s talk about ceramics… why did you choose to work with ceramics, alongside your work with painting, interior design and branding?
I’ve always loved ceramics, so not long after setting up my studio I began exploring ways in which I could produce my own hand-painted pieces. I love to see a drawing framed on a wall, but I’m intrigued by the idea of creating an object that’s beautiful (hopefully!) and useful at the same time. I enjoy the thought of a vase I’ve made in someone’s house full of flowers, or a platter being used for lemons, or even keys and coins. It’s just nice to think of these pieces being used and enjoyed every day.
Much of your work is inspired by Ancient Greece and Rome and the mythical stories so often associated with these eras. What drew you to this?
Again, the fascination started early in childhood. I love stories. In fact, I often think that the heart of my work is about storytelling, really, and creating a kind of feeling, or atmosphere. And those Greek and Roman myths and legends are full of such brilliant stories – so magical and evocative! I mine them for ideas often. I might feature a character on a vase or platter, say.
Which ceramic artists have inspired your painterly style? Who do you look up to?
I particularly love looking at ceramics created by Picasso, Jean Cocteau and the Bloomsbury Group.
You work with a skilled potter who throws your plates, platters and pots for you. At which point in the process are you involved?
We work on the shapes together, he then throws and fires the pieces in his studio in Scotland. I travel up and paint each individual piece, then the glazing and second firing is done.
How do you introduce a sense of playfulness into your work?
Colour mostly, I think. Also a lot of my work is based around my line drawings, which I suppose I’d say have a kind of light, playful quality about them.
Can you tell us about some future projects you’re currently working on?
An exhibition of drawings, paintings and ceramics which will be held in Stockholm in May, a few exciting collaborations and my first book project!