The Work
I like my work to be, for want of a better word, friendly. The reason for using silver at all is because it is a wonderful, forgiving, pliable material that I can manipulate with complete sympathy. I want the owners and users of my work to enjoy it, so it has to be direct and approachable and tactile.
Preciousness is a hindrance.
Usefulness a happy bonus.
Boxes
I sometimes use the term Reliquary for my boxes. They were initially inspired by the well known reliquaries of ancient times, in particular an exhibition in Edinburgh in 1989 “the Work of Angels”.
The House Shaped Shrine is a very recognisable form right across this quarter of the world. I grew up in my grandfathers house and his room had in it many boxes. To a small boy these were exciting places to visit. His working life in Burma and India equipped him with little boxes. Silver and carved wood; some of very stiff metal-reinforced card. The contents; collar studs and stiffeners, a buckle, salmon flies, a penknife with silver or ivory scales. A bullet, a half hunter pocket watch. Some my boxes are named “something box”, nativity box, diamond box etc. The aim of any name is mostly to aid communication, the label. The Idea of ‘box' is one of concealing and revealing. These boxes and reliquaries are free standing objects. They do not have to ‘declare’ a purpose. The purpose is mostly defined by the keeper and the content.
Sometimes I meet the keeper of one of my boxes and they volunteer their purpose. One, a gift from an Edinburgh businessman to Her Late Majesty Queen Elizabeth, found purpose in containing doggy treats. At least 2 are now Tea Caddies.
The box I have nearest me now was made by someone else. In it I have 2 pieces of Jade, one carved from Burma and one water washed pebble from New Zealand. There are 2 little female figures. One in its own tiny container made by my wife. One made by my Brother in law. A tiny silver three h’apence, a cartwheel penny. A note.
Quotidian Teapots
I made the first teapot in 1996 as a resolution of some of what I had learned from Mogens Bjorn-Andersen in Copenhagen.
I chose to make a piece that showed the working marks. For this to be successful the planishing had to be good, accurate and consistent; the soldering and assembly perfect. Imperfections would be ineradicable. The idea was if I can do this I can do all the other jobs. I have made about 40 since then. Different sizes different shapes but all with the same principals. The intent is to make an informal everyday friendly usable piece. So clean light Holly wood handles and a soft finish to the silver. Only this year 2023 was I asked for a name for these pieces.
The name expresses the intent, ‘Quotidian’.
Public Collections
Scottish Craft Collection
Coffee pot, candlesticks (I.G.C.E. 1984)
Royal Museums Scotland, Edinburgh
Silver caddy (1987 I.G.C.E.),Tall Patinated Cu/Brass Vessel.
Coffee pot.
One setting from the Bute House Millenium Collection 1999
Silver Plate 2008
City of Bristol Museum, per Contemporary Arts Society
Silver Caddy 1988
Kelvingrove Museum & Art Gallery,Glasgow
Rocking vessel 1990
City of Aberdeen Museum & Art Gallery
Coffee pot, patinated box, candlesticks (1993)
Goldsmiths Company, London
Standing bowl
Incorporation of Goldsmiths of the City of Edinburgh Goblet
Rabinovitch Collection at the V&A
Fish server,Vase.
Sheffield Museum and Art gallery
Millenium Canteen- Carving Knife
Bute House Millenium Collection (For the new Parliament)
25 place settings in silver, gold inlayed.
City of Birmingham Museum
Reliquary for a traveller. (silver casket golden boat) 2003
Goldsmiths Company, London
Two Plates and a Bowl (2005)
Goldsmiths Company, London
Snowbowl 6 (2009)
Goldsmiths Company, London
Snowcord vase (2010)