I believe, silverware as we know it from grandma’s drawers, have had its time, and I think its a unfair struggle to try to redefine and develop the trade in it’s original form. The history [...]]]> Being a silversmith is to me, first and foremost about communicating ideas about what role silverware plays in contemporary society.

I believe, silverware as we know it from grandma’s drawers, have had its time, and I think its a unfair struggle to try to redefine and develop the trade in it’s original form. The history and traditions surrounding silverware talks about it as a luxury version of our functional tableware. But our contemporary society is on a different route and if we want to keep silverware as an art form, it’s important to innovate those traditions.

I believe its my responsibility as a silversmith, designer, craftsman and idea generator to explore what silvers new role could be. In my latest work my focus has been around silverware as a decorative and luxurious art object, highlighting artistic quality and material properties, a centre piece that enhances and creates a special mood or setting for our special moments in life.

In my future work I want to move those thoughts forward and explore the possibilities of silver in a contemporary setting.

In my search for a new identity I will as a starting point remove all the pre-assumptions we have about silver today, from a historic, functional and social perspective. Instead I want to look at the unique properties silver has, and how we can relate those to our goals and values concerning functionality, sustainable production and social responsibility.

In order to find silvers role in contemporary society it’s important to identify the core qualities of silver.

I want to do this by studying the material  – focusing on unique characteristics such as value, weight, the broad spectrum of surface textures and it’s malleability. I also want to focus on visual expression, by using simple and limited construction principles.

I will hold these explorations up against principles such as: functionality, viable production and transparency in the process.

• Functionality is the role the object holds within the context it’s placed – whether its public, private or institutional.
• Viable production means being conscious about sourcing materials and environmental responsibility. So that the processes I use are primarily within my own workshop, with the tools and processes I master in that setting, and thereby eliminate unnecessary subcontractors.
• Transparency in the process is attained by telling the story behind the concept, process and visual language in order to communicate the objects role.

Have any comments or questions about it – please leave them in the comments below.

… and if you want to share this post, go ahead:)

Here’s a bit about Ole Haslund  story – he was a promising artist in the beginning of 1900, [...]]]> Last week I went to Copenhagen to receive a grant from Ole Haslunds ArtFund. That’s me with one of his descendants Peter Haslund – who came all the way from California to participate in the gathering.

Here’s a bit about Ole Haslund  story – he was a promising artist in the beginning of 1900, and traveled to Paris to learn the art of furniture design & cabinet making. Which is where he got his interest for antiques. Upon his return in 1905 he opened his first antique shop – and grew the brand up till 1942 when he was the biggest antique dealer in Copenhagen.

His ArtFund was established in 1940 to support danish artists, among them craftsmen – that’s how I became a lucky recipient.

Ole Haslund died in 1962, and the fund is now run by a board. You can’t apply for it – so it was quite a surprise to me to receive a grant from them – and was this year given to 17  artists, actors, craftsmen & museum people.

(And there was quite a few well know danish folks on the list.)

All you need is:

I’m still in amazed by the amount of [...]]]> Finally I got around to making the video of how you can easily restore the matt surface on one of my silver pieces.

All you need is:

• Scotch-Brite
• Soap

Here’s a photo of me recieving the prize.

As part of the exhibition, you can see a short film of me making the piece [...]]]> Last Friday I received the  ’Silversmith of the Year’ prize at Koldinghus Museum. At the same time the retrospective exhibition of my work through the last 8-9 years opened as well.

Here’s a photo of me recieving the prize.

As part of the exhibition, you can see a short film of me making the piece that was for the Museum at Koldinghus. It shows the process from inspiration, idea, design development to making.

You can watch it here… it’s about half way down the page.

If you have the opportunity to go and see the exhibition it’s open til 20th november.

Click here for exhibition details

On October 14th 2011 I’ll be presented with the Karl Gustav Hansen Prize at Koldinghus Museum and from 15th October through 20th November there will be a retrospective exhibition of my work.

At the moment [...]]]> Now that it’s official, I can finally tell you that I’m going to be Koldinghus Museums Silversmith Of The Year.

On October 14th 2011 I’ll be presented with the Karl Gustav Hansen Prize at Koldinghus Museum and from 15th October through 20th November there will be a retrospective exhibition of my work.

At the moment I’m busy making a piece for the museum that is part of the prize – so i’ll keep it short, and tell you more about it in October.

Here’s a link to the piece about it in Politiken Newspaper (in danish I’m afraid)

My work was also featured in this weeks Borsen Pleasure Magazine – you can see it here.

As I’m not doing any craft fairs myself this year [...]]]> I love this time of year, not only because of the high blue sky and supposedly warm indian summer, but because this is the time of year when all jewellers and silversmiths are working like busy bees to get ready for all the craft fairs.

As I’m not doing any craft fairs myself this year – because I’m busy working on a big secret project – I’ve asked one of the most talented silversmiths I know, Angela Cork, to tell you about what she’s doing to prepare for this autumns most prestigious fairs.

Angela is exhibiting at both Goldsmiths’ Fair and Origin, in London.

Angela Cork

What does it mean to you as a silversmith to exhibit at the fairs? It’s a great opportunity to get good feedback about new work and I hope to sell some things as well. This time of year is key to my annual takings and is an important part of my business and I invest a lot of time making work and getting ready. I also enjoy a couple of weeks free of making where I can give my hands a rest, wear nice clothes and spend time chatting to fellow smiths and customers. Which is one of my favourite things.

As you’re exhibiting at both fairs this year, how long before do you start preparing, and how do you do it?  I have been preparing on and off over the last 6 months. I start making work early because there are so many other things that I have to do in this time, including other shows and commissions for customers and I only have two hands! Two months before is when I really start focusing on the preparation of the display, I think about what will suit the work and also the stand position that I have been given; there is quite a lot to consider. Then there is the promotion including getting images ready, postcards, pictures and mailing out to customers. Of course you can just imagine the week before.  

Drinking Vessel by Angela Cork

Have you made any new pieces for this years fairs?  I have made a couple of pill box designs, they are so new that they are not yet photographed, but I can tell you that they feel lovely in the hand or in your pocket. This year I am into objects that have a sensory connection to the user. For Collect I made a tumbler cup which feels so good to handle and fits just right into the palm of your hand. For the forthcoming fairs I have made a new pair that are slightly larger and heavier. They were peened from a thick sheet and stretched thinner towards the top so the weight distribution means they will not fall over and also have a really good weight to them that is centred in the base. Most of my work is fabricated, so it was really good to get back to a bit of hammering.

Any tips for visitors? It is chance to see a wide variety of my work on display and pieces that are hot off the press! And made especially for these shows. I don’t have a shop so I spend a lot of time preparing how the whole stand looks with the work, so it can be a lovely experience to see the final results on show. People can also chat with me about my work and find out how and why I decided to make each piece. I also welcome discussions about commissions and ideas and the chance to meet someone and find out what they like. It’s much easier in person that on the telephone or by email. 

Billow Vases by Angela Cork

Anything else you want to add, a visitor might benefit from? Coming to Origin is a chance to see a selection of the best work being produced internationally and of a variety of disciplines. It is not often that you get to see such wonderful work by so many makers that is both functional and affordable and if you aren’t buying it can be a great day out and a chance to meet so many talents! And if you’re into Jewellery and Silversmithing Goldsmith’s Fair is a dream come true.

Any anecdotes from previous fairs you want to share – funny/entertaining stories? Someone once ate a chocolate that was part of my silver display. It had been there for days but the lady seemed to enjoy it.

Angela Cork, graduated from the Royal College of Art in 2002, she has her own workshop is in West Hampstead, London. You can see more of Angela’s work on www.angelacork.co.uk 

Origin is on from 22-28 September 2011 at Old Spitalfields Market, London. Click here for more info about Origin.

Goldsmiths’ Fair is on from 26 September – 9 October 2011 at Goldsmiths Hall, London. Click here for more info about Goldsmiths Fair.

I’d like to invite you to join me in the workshop to see how I made them.

Click on the video to watch.

But the lady at the shoe shop said you had to protect them with something you can’t quite remember what was – because you were too excited about [...]]]> Imagine you just spent a fair amount on a very nice pair of boots. You really love your new boots, and can’t wait to put them on.

But the lady at the shoe shop said you had to protect them with something you can’t quite remember what was – because you were too excited about buying the boots to really listen and now you’re not quite sure what to do.

Sounds like something that could happen to you?

This scenario could also have been about clothes, furniture, jewellery or silver. The fact is, that we are surrounded by things that need some kind of care in order to stay in good condition, but the care instructions are not always on hand.

I happen to know that a lot of my customers and people in general interested in silver – people like you, are a bit unsure about how to clean silver. And maybe it keeps you from enjoying the silver you have, or even from buying new.

Well – I can help you!

I’ve created this easy 3 Step Manual, a pdf that you can download to your computer – print out, if you want, with links to videos that show exactly how I do it. There’s even a link to the silver care products I use.

If you have a question about cleaning silver that isn’t covered in the manual, you can always ask me either via email or by posting on my services page here.

So go ahead and download your free copy of The 3 Step Manual by signing up for my newsletter here or in the right hand sidebar.

Happy Silver Cleaning!

Click to tweet about this post

Some of Britain’s finest silversmiths and enamelers will exhibit work at the gallery for British Silver Month. And you can get a [...]]]> Celebrating silver for a whole month – that sounds like something out of dream to me. But it’s exactly what they are doing at The Scottish Gallery in Edinburgh for July 2011.

Some of Britain’s finest silversmiths and enamelers will exhibit work at the gallery for British Silver Month. And you can get a chance to see my work there as well.

The Scottish Gallery is very special to me, as they were the first gallery to offer me a Solo Show, back in 2005. I had just been presented with the International Rotary Association’s ‘Leonardo da Vinci Prize’ and I spent six months designing and making new work for the exhibition.

All my layered work was born during that period up to the exhibition in 2005, and I’ve been developing it since – the candlesticks are ‘children’ of that work.

Having a prominent & well established gallery give you that trust and support, so early on in your carrier, as The Scottish Gallery did to me (I graduated  in 2003) is beyond describingly valuable.

All I can say is: I’m really grateful. And GO SEE the exhibition.

The exhibition British Silver Month opens on 2nd July 2011, and there will be talks and opportunities to meet artists, so make sure you check out The Scottish Gallery for dates and follow them on Twitter for updates.

I must admit this brief has caused a lot of sleepless nights. Just to recap if you haven’t read my first post about the ‘Archetypes’ exhibition at Koldinghus this June, all the Danish Silversmiths are designing and making a piece of silver for an Archetype. And I’ve found it quite hard to [...]]]>

I must admit this brief has caused a lot of sleepless nights. Just to recap if you haven’t read my first post about the ‘Archetypes’ exhibition at Koldinghus this June, all the Danish Silversmiths are designing and making a piece of silver for an Archetype. And I’ve found it quite hard to get started.

Then, about 10 days ago, the tittle got changed to ‘Dedicated Silver’ which now puts the whole brief in a different perspective. I don’t know if it’s better or worse, it has still been really hard to find the instant inspiration to kick me off.

So, I thought, now is a really good time to do some case studying. Practice what you preach!  Which is what I’ll do to get this one kickstarted, and turn a brief I’m not particularly inspired by into an exciting project, generating good ideas, resulting in a fantastic end product!

Now, the research face is always really difficult if you don’t have that instant inspiration. So, to get a thought process going, asking a question is always good. My question was: What am I passionate about making? (It could have been; who do I want to dedicate an object to, but that didn’t really give me anything – and I’m a great believer of always starting with your passion). Well, I’m passionate about making candle sticks – I just love the fact that it’s such an non-functional object, but everybody has them. By non-functioanl I mean, we really don’t need them to see in the dark, but we have them to create an atmosphere. So that’s my passion.

Then, who could I dedicate a candle light/stick to? Someone who works in the dark? Let me just say that I’m looking at this as a ‘fictional’ object, so I will build a story around the object and the person, but it will be fictional. My suggestions of people who work in the dark are: night watchman, person working in the sewer, postman, miner, chimney sweeper and night club persona… They are not all working in actual darkness, but it’s something to start from.

Instantly I feel for the chimney sweeper. I can see him in front of me – all matt black covered with soot. Lovely and a bit scary, with his eyes lighting up. My chimney man definitely needs a light. I want it to be black and like a lantern – hanging from a peg or something.

Next step will be to start doodling, sketching and maybe some more research on my chimney man. I do need to produce a picture of him to exhibit with my object.