Kathleen Cox, Irish artist, sculptor, and mystic, is born Christina Mary Kathleen Cox in Wo-Sung, China, on July 2, 1904. Cox is considered a pioneer of contemporary Irish pottery.

Cox is the eldest daughter of Dr. R. H. Cox, originally from Dundalk, County Louth, and the port health officer in Shanghai. He is also an amateur geologist and models in clay. In his retirement, he invents a periscope later used during World War I by the Royal Navy. The years living in China leave an impression on the young Cox, visually and culturally. The family returns to Ireland in 1911, first moving to Listowel, County Kerry, and later to Howth, County Dublin. She attends Alexandra College, and later the Dublin Metropolitan School of Art in 1921. While there she studies sculpture under Oliver Sheppard and is considered one of his most talented students, winning the Royal Dublin Society Taylor prize for modelling in 1925, 1926, and 1927. The money from these prizes allows Cox to travel to Paris in 1929.

Cox exhibits in 1924 at the Tailteann exhibitions, and in 1925 submits textile designs to the Arts and Crafts Society of Ireland. She establishes a pottery studio at 7 Schoolhouse Lane, Dublin, with college friend Stella Rayner in 1929. The studio has the first electric kiln in Ireland. The first exhibited piece by Cox shown by the Royal Hibernian Academy (RHA) is in 1930, with a pair of Madonna bookends, and portrait masks of the daughter of Dermod O’Brien, Brigid O’Brien, and writer Norris Davidson. Davidson is a friend and neighbour, who commissions her to design the poster for his 1929 film, Suicide. She exhibits with the RHA from 1931 to 1933, and the Tailteann 1932, while also holding exhibitions in her studio. During this period Hilda Roberts paints her portrait, Strange Spirit. Kathleen Cox in her studio. The theme of womanhood is prominent in her work, including in the sign of her studio.

In 1932, Cox begins producing a line of more commercial figurines, drawing influence from the Royal Doulton Burslem factory, where she works for a time. One such figurine is The Lavender Man (pictured), modelled on Michael Clifford, a Dublin street trader. In the mid 1930s, she develops a frustration with her work and with her lack of impact on the wider world. In attending the Chinese exhibition in London in 1935, it is confirmed to her that pottery should be practical rather than ornamental. It spurs her to destroy all her moulds and sell her kiln upon her return to Dublin.

Cox marries Alan Palmer in 1937, the couple has two daughters and relocate to England. Palmer is a conscientious objector during World War II, with the couple running a farm at Meopham, Kent, returning to London after the war.

Cox dies in early September 1972 in London. Some of her work is held in the collections of the National Museum of Ireland and with four works featured in the exhibition Not Just Pots: Contemporary Irish Ceramics of the 21st Century.

It is during the 1920s that Cox begins to question mainstream religion and becomes a vegetarian. Finding that her personal philosophy is similar to that of theosophy, she joins the movement and speaks at meetings. She is heavily influenced by the founder of the Order of the Great Companions, the Rev. William Hayes, who is living in Dublin in the 1930s. She writes and illustrates a children’s book on world religions, A story of stories, which she publishes under the pseudonym C.M. Kay in 1970.