Nicky Fox/ Rhythm

Nicky Fox is a UK-based contemporary artist whose work systematically transforms industrial by-products into disciplined, high-relief sculptural reliefs. Her unique artistic methodology is anchored in nearly three decades of industrial expertise in Colour, Material, and Finish (CMF) and textile design.

An honours graduate in Textile Design from the University of Huddersfield, Fox began her career as a Textile Designer at Guilford Europe, UK, and continued as Senior Textile Designer at Melba Industries in Australia. She subsequently transitioned to the automotive sector, creating CMF design concepts and strategies for prestigious global brands including Volvo Trucks, Nissan, Infiniti, Lotus Cars, and McLaren Automotive. Her career also includes pioneering work in sustainable leather development for the mass transportation sector as a Senior Designer for Gen Phoenix. Today, Fox translates this deep expertise in material performance, industrial processes, and colour theory into her fine art practice. By organizing raw 3D-printing waste into precise, geometric taxonomies, she bridges the worlds of advanced mass manufacturing and classical, slow-craft preservation to explore human agency in the digital age.

Tidal: Greyscale Coral

3D-print waste PLA bio-plastic, steel pins, and acrylic on wood panel, 2026

Tidal: Greyscale Coral investigates formal duality through the lens of binary value structures, inversion, and cyclical rhythm. Set against a stark, matte black background, two parallel columns of pinned PLA purge function as synchronized, tonal opposites. The composition explores the ultimate aesthetic binary of light and dark, orchestrating a tense, pulsing dialogue between elements that advance brilliantly and those that recede entirely into the shadows.

Mimicking the natural, undulating currents of a tide, the columns map an inverted double-cycle wave. The left column starts with sunlit white and vibrant coral pink, plunges into deep black, and rises again in a rhythmic, repeating cadence. The right column mirrors this movement in a perfectly phase-shifted inverse. Suspended on fine pins, these static industrial fragments cast a shifting network of shadows, transforming a rigid linear layout into a fluid, breathing topography of digital waste.