L.E.S. and more
We meet Luke Edward Sothcott in his salon-studio on the St Leonards seafront.
Luke (L.E.S.), sat in his salon / studio.
“I rented a rundown little flat on Western Road, ripped up all the carpets, painted the walls black and watched the drunks smash each other to pieces most evenings from my window.”
How did you decide to become a hairstylist?
Luke. I often get asked this, but I don’t quite know the answer. When I was younger, my mum would usually cut my hair for me, but as a treat sometimes, if I were good, I’d get taken to the Rye Retreat, so someone could do it properly; I used to think how cool they all were! I guess from then, I felt that for me, though I had no idea how cutting hair was even possible. Years passed, and after studying music for a few years straight out of school, I took the leap of faith and told my parents I wanted to study hair and beauty at college. Somewhat bemused but supportive, my dad bought me the kit! I remember it all looking strange and foreign to me, especially the tunic uniform!
It’s safe to say that college and I didn’t get on; I was way out of my depth, and the only way I could manage the lack of confidence and knowledge was by playing up. After surviving a year at college, I wormed my way into a Saturday job and then an apprenticeship. The salon owner took the time to talk me through things calmly and thoroughly; I’m not sure I would be doing any of this now without that opportunity. I was still no angel; I swore loads in front of clients (I still do) and would turn up at work rather than college. After another year, a miracle happened, I’d actually completed all my coursework for the qualification, so I moved to London!
I took a position in a salon on Greek Street in Soho, where I watched and learned from some incredible stylists there. I sometimes miss the chaos of working in London, but I’m way happier back down in the South East.
I eventually moved back to East Sussex, and family friends took me in as my folks had moved to Ireland by this time; I loved it and owe those guys a great deal. I would commute from Robertsbridge to Rye every day to work, and eventually, I’d get a job in Hastings.
I rented a rundown little flat on Western Road, ripped up all the carpets, painted the walls black and watched the drunks smash each other to pieces most evenings from my window.
Where does art and being an artist come into your story?
Luke. So I couldn’t really afford my rent at the flat; I’m not sure why coming to think of it, anyhow, I’d always dabbled in drawing, mainly with markers and drippy ink pens on people’s property. There used to be an art shop around the corner from the flat, on Kings Road, I still use them to this day but they’ve moved into Hastings now. So I would buy posh paper, do a piece of lettering, buy a frame from ESK, and attempt to sell it to cover my rent.
After a few years, the hairdressing took over, and even though I’d appreciated art from afar, I hadn’t taken it back up. So fast forward six or seven years to a few months pre lockdown, and my wife, Holly (see page 45), and I are having the plastering done in the front room. At the time, I was pondering on the idea of doing some work again, so with that Holly handed me some crayons and pushed me into drawing on bits of old parcel paper that she stuck up on the chimney breast. Her actions were enough for me to give it a go again.
As well as Holly, do you have other people supporting you and influencing your work?
Luke. I have amazing support, a lot from Marcus Crane and Euan Roberts (see page 47). Both have helped me navigate the last few years in different ways. Marcus liked what I was doing creatively and took me on at his gallery (McCully & Crane, RyeZine issue 1). Since then, I’ve had the poor bloke answering emails for me and dealing with Instagram. He’s a real treat to work with and one of the most talented people I know. Euan became one of my close friends after a week of meeting him; at the time, he had his studio in the basement of a church, and it was well rough. As a successful artist and gallery owner, Big Yin Gallery, I can give him a call whenever I am stuck or need a chat; he always encourages me to make pieces of work. Also, the continuing support from both my parents is amazing and I know how incredibly fortunate I am for that!
As far as influences are concerned, I genuinely read books on old masters; I love anatomy drawings and the craft involved in draughtsmanship. Any figurative work I do, I usually give to my mother.
I tend to try and paint my emotions, seeing as it’s an ever-changing subject. However, I am aware that continually putting myself in different states emotionally could be detrimental mentally. So, alternatively, I’ll paint the occasional sailing boat in the summer and maybe the odd wheelbarrow
that makes me smile.
Luke Edward Sothcott
www.lukeedwardsothcott.com
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