The 925 Sterling silver vessel ‘Morphology’ was my major project when finishing my BA Hons. degree at Kent Institute of Art and Design, in Rochester Kent.
I had some initial problems with the silver hand-raised pods cracking in the hammering process, and eventually ended up spinning the pods instead of using the hand-raised ones. Time was of the essence and I didn’t want to spend an additional week on something that may or may not come together for the final stages of my piece.
I documented the pods at the stage when I chose to scrap them.
Looking back on them now I wish I would have saved them and used them in a ‘decomposing’ project where the brittleness of over-heated silver could have been celebrated; as the material showcases some wonderful ‘vulnerability’ in the images below.
As much as the vessel was created based on its shape and forms’ impact on its surroundings, it can also be used as a vase. The sloths in the pods were created to celebrate the part of a flower we forget about and don’t showcase. The stem, the root.
The vessel was a celebration of ‘where all things derive from’.
Morphological silver vessel
a. The branch of biology that deals with the form and structure of organisms without consideration of function
b. The form and structure of an organism or one of its parts)
A great concern of how silverware and precious objects are perceived was one of the most elementary reasons for the development of the piece. It was created on the basis that it would be able to exist in a minimalist setting, though it is an ‘additional piece’ of silverware and therefore decorative, but only because we have destined silverware to be supposed so.
To be able to justify its being, the form was intrinsic.
The function of this piece is secondary to the concepts it is exploring. Metal has been forced to move ways it does not want to move, yet still the metal is Willingly telling stories of individual hammer beats and ripples this has created.
For the maker there is an intriguingly exciting process to hold something we perceive so precious of time and monetary value, and then cut it open and apart; explore it on the inside. It was necessary to discover the revelation of demolishing the pre-destined and also geometrical shape, to find that there was a whole different meaning to how silver was experienced.
The exploration of a primordial shape should not be compromised because of values and ideas that derive from the birth of this industry’s craft.
The integral purpose was to treat the silver vessel as a morphological piece rather than something created out of precious materials for a sacred function. The vessel can hold specimen flowers, but the piece is still more axiologically compelling without this intrusion.
The shapes of the vessel exist in symbiosis with each other, unimpaired and in unitariness. It is then allowed to live in an endobiotic relationship with its surrounding. This silver vessel is a proud study of morphological values; its internal structure, and its axiomatic existence.
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