Rebecca Stevenson

Multimedia sculptor

©MarianneWie

Where human history and flora collide

Rebecca's sculptures are made of wax and other materials including resin and bronze
Her inspiration often comes from anatomical drawings, baroque sculptures, or early modern wunderkammers
Her works are exhibited in many galleries

In her sculptural works, Rebecca Stevenson wishes to address themes and questions around human existence and embodiment. Her pieces are inspired by many historical periods. “As a child, I made things incessantly out of whatever I could find – cardboard, paper, fabric, yarn. I taught myself techniques from library books and would often lie awake at night planning my next project (I still do that!),” she shares. Her lifelong enchantment has led her to become the first sculptor to be an artist-in-residence at the V&A in London. Outside of such residencies, she works from her vibrant studio. "This is where I craft my 'wunderkammer', my life's work-in-progress,” explains Rebecca.

Interview

©MarianneWie

What draws you to the materials that you work with?: I am drawn to materials that have meaning within the history of sculpture, particularly bronze and wax. I love materials that have the ability to move from fluid to solid form, as well as take on translucency, colour and sheen.
When and why did you choose this craft?: An inspirational tutor introduced me to the work of women sculptors such as Louise Bourgeois and Eva Hesse in my foundation art course. I was excited by how their work combined the material, bodily and intellectual, and from that point there was no looking back!
Do you master any specific techniques?: Working with materials is a constant dialogue. Sometimes I try to ‘master’ them, but sometimes the material itself is the master. I work with clay modelling, mould making, lost wax casting, patination and gilding, as well as unconventional, self-learned wax work techniques.
How does your creative process usually start?: I usually start by modelling a human figure or animal form in clay. This stage of the process is quite rigorous and demanding. Later, after casting, a freer stage occurs when these forms are disrupted or ‘unmade’.

Rebecca Stevenson is a master artisan: she began her career in 2000 and she started teaching in 2001