Artist Q&A
Steph Mastoris, Typographic Artist
"I feel much of my most satisfying work has been created in collaboration with other artists who work with other media".
Steph Mastoris in his studio at Elysium, Swansea. Photo by Bernard Mitchell.
When did you start making (visual art/other) and why?
I began making type-works about 40 years’ ago - although it doesn’t feel that long! It all started with a birthday gift from my brother of a variety of large, Victorian wood-letter type. There were just enough ‘sorts’ to print some names and words, so I started with a congratulatory text for my sister-in-law, who had done well in her ‘O’ Level exams. Printing these random letters on dampened hand-made paper was a revelation –the visual impact and the texture of the finished print were stunning, and I soon started to create prints that explored words and language and the effects of punctuation on their meaning.
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What turned this hobby into something more defined as an art-form was being invited to show some work at an early exhibition organised by the Elysium artists in Swansea. From the good feedback on my work I decided to rent a studio space with Elysium from around 2011. I am currently in my third Elysium studio, now in the recently-converted J T Morgan building in the city.
An early print, made in 1991 with the type gifted by his brother.
First exhibition piece, made in 2012 for Elysium Gallery, Swansea
How would you describe your making process? How do you use your energy and time to produce work alongside your illness? What spaces and places do you make in?
I am fortunate that my chronic heart condition does not restrict my chosen art-form, although it does prevent me doing things such a fell walking, which I very much used to enjoy and provided me with lots of thinking space. Looking back to my childhood, I think suffered with a mild form of dyslexia, which was not recognised at the time. Ironically, this has helped my art work, as I can’t take words and their spelling for granted and has made me very careful in their use and layout.
My processes of making start, of course, with much thinking, reading and planning. Increasingly, I now use Microsoft Powerpoint to develop the initial designs before moving into the studio to assemble the actual letters and refine the layout. The physical presence of the metal and wood type helps me to plan and visualise works. Then comes the really exciting task of deciding how the type can be inked (or not!), and the qualities of the paper to be used. Much of my initial planning is undertaken at home, but my studio is essential for trying out my ideas and successively refining the choice and style of the words on the paper
What inspires you? Books, film, art, podcasts, etc? Recently or in the past…
Language is the starting point for all my work, especially in poetry. I also greatly admire artists who use language in their work, such as David Jones and Ian Hamilton Finlay.
I particularly like working to a commission or an exhibition proposal. Responding to these usually leads me to explore new printing techniques and approaches to the texts. I feel much of my most satisfying work has been created in collaboration with other artists who work with other media.
Ian Hamilton Finlay from his Little Sparta Garden
How would you describe your relationship to the wider world?
I feel I have been very engaged with the wider world for most of my life, having worked in community-focussed museums and heritage organisations for over forty years. There is something new to learn and someone new to meet every day, and I relish these opportunities.
On The Brink, a collaboration with artist Phil Cheater as part of Now the Hero 1914-18. A series of city-wide events curated throughout Swansea in 2018 to support Now the Hero project.
Read more about Steph Mastoris: