Sophie Smallhorn was born in Hertfordshire in 1971. She trained at the University of Brighton (1991-94), graduating with a BA in Furniture and ceramics. Sophie Smallhorn currently lives and works in London.
Recent solo and group exhibitions include: Galerie Wenger, Zurich; Is it Wood? / a yw’n bren?, Ruthin Craft Centre, Wales; To start a conservation across a crowded room; Contemporary British Printmaking, Smiths Row (2014); Completion of Glass Canopy commission for Land Securities. Victoria, London (2013); Completion of the wrap for the Olympic Stadium, London; Bauhaus Live, group exhibition at The Aram Gallery, London (2013); ‘ColourWare’, exhibited as part of Collect, Saatchi Gallery London; Notes on colour, an exhibition of 100 screen-prints, Project Space, Great western studio; Completion of exterior mural, Basel Switzerland; Commission for glass canopy in London with Pelli Clark Pelli Architects (2011); Olympic Stadium, a collaboration with Populous Architects to design a colour spectrum for the interior and exterior of the building (2012); Significant Colour. Group Exhibition at The Aram Gallery (2009); Chalk Hill Contemporary Art (2008); Colour Bands, Vinyl Installation at Canary Wharf (2006); Rochester Row public Art commission for Westminster Council (2005); Sculpture— A Spectator Sport, contemporary sculpture at Bryanston Park RIBA Panopticon, a collaboration with Jo Rippon Architects (2003).
Sophie Smallhorn started working sculpturally by creating wall-mounted compositions in coloured off-cuts, which were the remnants of materials she used for making furniture. In her work Smallhorn explores colour, volume and proportion. The forms of her wall works are small, simple, clean and geometric. Geometry and saturated colour are centre stage in her compositions, combined and contrasted depending on her intuitive sense of play. There is no theory, science or system in her approach. Texture is not admitted. The chance element of light and the controlled juxtaposition of form, volume, weight and colour are all that she requires in order to make these complex illusionistic scenarios.