I’m in it amongst the finest craftsmen, all represented by 31 Galleries from around the globe. It’s an honour to be exhibited there, and for that I’m very grateful.

This year I’ve created new work in the lines of my silver manifesto, which basically is about looking at silverware from a very contemporary perspective. My aim is to make silverware that fits in with our lives as they are now – meaning all that cleaning, polishing and tarnishing just doesn’t fit in a busy life, where the special moments can be spontaneous and don’t have to require a lot of preparation.

Check out the video I made about the Black Silver Wire Candlesticks here below. They are already black, so no need to polish or clean. The candle drippings can be removed with boiling water, and the wax thats left on the surface doesn’t interfere with tarnishing.

Click here to view the video on YouTube.

I’ve also made a series of 4 mini sculptures – only 3 got to go to Collect, you can see the last one here. They are made from the thought of using a more sustainable production method. So I’ve made them from silver scrap (or actually some of my older pieces – as I tend to recycle my work after 5 years or so). Everything is done in my workshop, by me. I’ve melted the silver, cast it into thick sheet, rolled it down (lot’s of sweat and woman power went into that) then pierced out the pattern and finally shaped them into mini sculptures inspired by the definitions of a bowl.

You can read more about Collect here.

Please share this article if you know anyone who would find it interesting.

I’m a great believer in transparency, especially when it comes to metals. First and foremost you want to be sure that what you’re buying is in fact what it says it is – much like foods – you want to know what’s in it, right?
You want to make sure your metal doesn’t contain for example nickel, which can cause allergies.
That’s why I think it’s very important to make sure the alloy mix is accessible to everybody.

As I don’t know what’s in Tiffany’s new metal I can’t say anything about it. However, I can give you a little insight into the alloy and hallmarking of silver and gold.

Alloy – a metal made by combining two or more metallic elements, esp. to give greater strength or resistance to corrosion.

For example sterling silver is an alloy of silver & copper, 14k gold is an alloy of gold and silver.

A metals alloy is usually stamped or marked into the metal to show and guarantee the purity of the metal.
The number explains the amount of main metal (if it’s gold or silver) in per mill (1:1000). So for gold: 18k is marked 750, which means it is 750:1000 parts gold the rest is other metals (usually silver and copper)14K is 585:1000 gold, 9k is 375:1000 gold.
Sterling silver is marked 925 and is 925:1000 silver

Hallmarking

Unfortunately, as there are different rules to control this in different countries, there’s not one easy way to find out.
You can read more about the European Hallmarking Conventions Common Control Mark here.

But in most countries, every gold- & silversmith has to register with their countries Assay Office to get a Makers Mark or Sponsors Mark. The Makers Mark is usually a combination of the letters in their name (mine is SDJ) and it is stamped into every piece they make.
As I’m registered with both the danish and british assay office, they can use that information to control that I don’t mark metals wrong. So, in Denmark the Assay Office will come to see me unannounced and take a sample to test. In the UK I have to send everything to the Assay office for individual testing and marking.
All the metal suppliers are tested regularly as well, so the control is very tight in each of these countries.

The best way to find out what alloy your gold and silver are, is to look for both a Makers Mark and an Alloy mark.

Coming back to Tiffany’s new alloy, I think this it’s a welcome innovation in the jewellery world, but my hopes are that they will reveal what exactly it’s made of, for the benefits of the consumer.

Click here to view the video on YouTube.

I recently made this piece for a private client – if you have any questions about the process or the tools I use – please ask them in the comments below.

Wanna show it to someone? By all means, share this…

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, 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:

• 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 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 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 – 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.

Click here to view the video on YouTube.