London-based artist Corinne Rockall’s ceramic practice explores the dialogue between physical urban spaces and our digital anxieties. Working with hand-built clay, she investigates modern surveillance, digital identity and the accidental art found on city streets.
In this body of work, Rockall incises clay surfaces with the shorthand utility markings borrowed from London pavements. Removed from their industrial context, these cryptic and often humorous codes morph into unintended faces, mapping a hidden subterranean world onto the clay.
Alongside these playful street-level observations, Rockall’s sculptural work critiques our compliance under constant monitoring. She confronts the irony of proving our humanity to digital checkpoints, using loose brushstrokes, stark silhouettes and raw clay to highlight a modern paradox: we are heavily watched by infrastructure, yet willingly trade our privacy to curate online personas.
Are you self-taught, or did you undertake formal artistic training?
I have a BA in Interior Design, which was very concept-based, and a Master’s in Narrative Environments, which focused on writing your own brief, research and storytelling. I used digital collage to present my ideas.
Then, in 2019, I started evening pottery classes with artist Miche Follano, as well as taking a course at City Lit.
How would you define your visual language or conceptual approach?
I use symbols, words, colour and form to convey my ideas.
Can you describe your creative process from conception to completion?
Ideas mainly begin as notes in a sketchbook or on my phone, alongside research and observations when I am out walking. That might involve overhearing conversations, staring at pavements or simply noticing something around me.
There is also an element of sketching, spontaneity and instinct when I am actually making a piece. This can happen during the building process or when I am decorating it, but I usually have a vague idea of the shape, colours and words that will either appear on the work or influence it.
Does narrative, symbolism or storytelling play a role within your work?
Very much so. A piece has to have a story behind it, or incorporate marks that actually exist. A lot of my work also references architectural elements.
Which artists have most influenced you, historically or contemporarily, and why?
I look at a lot of collage artists on Instagram. Grayson Perry is also an influence because of his storytelling, observations, attention to detail and great titles.
What personal, cultural or environmental influences shape your practice?
The current state of the world, relationships and the way things have changed since my childhood all influence my work. I am also inspired by observing what is around me and by music.
Where is your studio based, and how does the space inform your creativity?
I work in my hallway and kitchen, and my materials are stored in my shed. I would very much like to have a dedicated studio space so that I didn’t have to put everything away whenever I finish working.
I like having visual prompts around me, and that isn’t always possible when you are also living in the space you work in.
Do you have any rituals or rhythms that anchor your studio practice?
I write notes about what I want to achieve in a day. It sometimes happens!
The more I work with clay, the more I learn about the different stages of the material and when I can do certain things with it.
What bodies of work or projects are you currently developing?
I am planning to make some bigger pots again, similar to What Is That Pot?. I would also like to develop more of my ‘Castle’ style sculptures, incorporating architectural elements that reveal both interior and exterior decoration.
Where can collectors encounter or acquire your work?
Collectors can contact me directly.
You can follow Corinne on Instagram
