Find some­thing fab­u­lous at Gold­smiths’ gleam­ing fair, says Corinne Julius Quick, sil­ver

London Evening Standard (West End Final B) - ES Homes and Property - - Crafts -

IN­TE­RIOR de­sign in­creas­ingly picks up trends from the world of fash­ion and this year sil­ver has hopped from the cat­walk to add gleam­ing high­lights to our homes. Lon­don has some of the world’s best sil­ver­smiths and Bri­tain is con­sid­ered a global leader in con­tem­po­rary sil­ver­smithing. The an­nual Gold­smiths’ Fair is one of the best places to see new work, meet the mak­ers and buy.

Mod­ern sil­ver­work sits eas­ily in con­tem­po­rary in­te­ri­ors and to­day’s sil­ver­smiths of­ten pur­sue an ar­chi­tec­tural aes­thetic, ex­per­i­ment­ing with in­ter­est­ing tex­tu­ral sur­faces and colour­ings. This year there are three strik­ing themes at the fair: colour, sculp­tural form and in­spi­ra­tion from na­ture. One of the most in­no­va­tive sil­ver­smiths is Adi Toch, whose un­usual works are soft and rounded. Her new wine pour­ers have the cosi­ness of a duck’s nest. She in­creases the at­trac­tion by pati­nat­ing her work — colour­ing the sur­face to achieve glo­ri­ous blues and greens tinged with browns and golds. It’s a tech­nique also em­ployed by Re­becca de Quin, whose ar­chi­tec­tural pieces, com­posed of sev­eral ves­sels, in­cor­po­rate won­der­ful blue-green sur­faces re­flected in highly pol­ished sil­ver sur­faces.

Juli­ette Bigley also ex­plores pati­na­tion in her highly sculp­tural forms. “Pati­na­tion is al­ways dif­fer­ent. It’s an­other string to your bow in the pal­ette of ex­pres­sion,” she says. She of­ten uses non-pre­cious met­als with sil­ver to cre­ate in­trigu­ing ves­sels.

Ane Chris­tensen makes sim­ple, heavy and calm bowl forms “in­ter­rupted” by vis­ually com­plex, open and del­i­cate struc­tures that cre­ate a ten­sion at the meet­ing point. “I en­joy work­ing in a va­ri­ety of met­als, com­bin­ing them in an ex­plo­ration of colour and tex­ture,” she ex­plains. An­gela Cork is more con­cerned with func­tion­al­ity in her metic­u­lously made, el­e­gant boxes. The lids are dec­o­rated with sen­sual rip­ple forms.

Pa­trick Davison’s boxes play with geom­e­try, the dec­o­ra­tion com­ing from com­bin­ing a mix of met­als such as sil­ver, cop­per, bronze, al­paca and brass in the con­struc­tion.

Anna Lorenz’s work is more di­rectly ar­chi­tec­tural, made of flat pierced sheets of sil­ver that are like dis­torted graph pa­per. “I ob­serve and record the city as well as re­search art and ar­chi­tec­ture to in­ves­ti­gate qual­i­ties of space and line in my fi­nal ves­sels.” Is­raeli Jewish and Is­lamic ar­chi­tec­ture found where Ta­mar De Vries Win­ter grew up forms the back­ground to her bowls.

How­ever, nat­u­ral form is a key in­spi­ra­tion for many mak­ers, and none more so than Yusuke Ya­mamoto, whose beakers and plat­ters are in­tensely pat­terned. For Hamish Dob­bie it is the ge­ol­ogy and land­scape of Scot­land that stirs the cre­ative juices. He em­ploys ad­vanced tech­nolo­gies such as 3D print­ing, weld­ing and CNC milling to cre­ate el­e­gant and in­tri­cate ves­sels.

For re­cent grad­u­ate Jessica Jue, or­ganic themes such as car­niv­o­rous plants un­der­lie the cur­va­ceous shapes of her works, which ex­plore themes of move­ment based on the Chinese con­cept of Qi, or vi­tal en­ergy.

Left: Left: Re­becca de Quin’s Line-Up, in ster­ling sil­ver with ox­i­dised de­tail and gild­ing, 130mm high, £3,400

Bri­tan­nia sil­ver: Yusuke Ya­mamoto’s Sweet Squama beakers, £1,300 each

Left: Jessica Jue’s Bri­tan­nia sil­ver bowl with 22ct gold leaf, £3,000

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.