E.B. Cox

E.B. Cox (1914–2003) was an internationally known sculptor from Toronto, Canada.^[1]

Early life and education

Elford Bradley Cox was born in Botha, Alberta, the second son of John and Eva (Tabb). His mother died when he was 13 years old. Cox attended Victoria College, University of Toronto between 1934 and 1938, where he met Professor Barker Fairley, through whom he became acquainted with many artists, including members of the Group of Seven. After serving as an interpreter during World War II and a brief teaching career at Upper Canada College, he took up sculpting full-time in the 1950s. Cox pioneered the use of compressed-air chisel and other power tools in creating sculpture. The technique enabled him to single-handedly create large-scale installations.

Sculptures

Cox is best known for his large works featured at many Toronto-area landmarks, including:

• Draped Figures (aka "The Three Graces") on display at Victoria University, Margaret Addison Hall, Toronto.
• Great White Lady on display at McMaster University, Hamilton, Ontario.
• Garden of the Greek Gods, which includes twenty-one pieces on display at Exhibition Place in Toronto.
• "The Days of the Year," bronze and glass, McDonald Block (Ontario Government building), Toronto.
• "Youth and the Environment," on display at Exhibition Place in Toronto.
• Bears in limestone (2), on display at Exhibition Place in Toronto.
• "Spring Breakup" (Fish Fountain), Hyatt Regency Hotel, Avenue Road north of Bloor St., Toronto.
• Seated Lady on display at the Brampton Court House in Brampton, Ontario.^[2]

Cox was married to Elizabeth Kathleen (née Campbell) with whom he had two daughters, Alice Margaret and Kathleen Mary. Kathleen Cox was awarded the Order of Canada in 1984 in recognition of her achievements in sport parachuting.

Garden of the Greek Gods controversy

Cox' work became the subject of a dispute in 2014 when the 20 limestone sculptures comprising the Garden of the Greek Gods, created by Cox, were hidden from view at the Muzik nightclub. The sculptures had previously been easily viewable by the public but a fence was built, blocking the view to all but nightclub patrons. Family and friends expressed concern both about possible damage to the work and the fact that it is no longer freely accessible to children. Cox had originally intended that children be able to play on the sculptures.^[3]

References