Michael Eden | Maker

Waddesdon Manor was built in the late 19th century in the French Renaissance style. Its historicist exterior belies its comfort and conveniences, which were remarkably modern for their day. State of the art technology –such as electricity – are behind its deceptively ancient-looking walls.

Similarly, the works of art in its collections create a harmonious whole, yet are drawn from several centuries of craftsmanship and from different countries and collections. This creation of a new and different interior from disparate elements; the distinctive combinations of the internationally-renowned ‘goût Rothschild’ can be viewed as a fusion of styles. This approach continues today in the activities of the Rothschild Foundation which is actively engaged in commissioning contemporary architecture, art and sculpture, which sit in the historic landscape.

Michael Eden has responded to the many layers of Waddesdon with pieces that embody the process of one form transforming into another form or an architectural motif blending with another from a different period.

Spiralis was inspired by my interest in the cultural role that architecture plays in society. Buildings are more than just stone or steel, slate or glass, they have meaning beyond the physical. They make statements, reflect their creator’s personality and polarise opinion.

Like the Manor, Spiralis is a hybridisation of historical architecture, demonstrating that the contemporary can be found in the past.

Apollo Inverto was created to explore a visual illusion and alert the viewer to the act of looking. It is designed to demonstrate that there is often more to an object than is revealed at first glance.

Photo © Mike Fear

Designers and makers have long delighted in using one material to imitate another, whether to trick the viewer or to demonstrate their skilful craftsmanship. Waddesdon is full of examples: wood painted to look like marble, translucent blue-backed cow horn imitating lapis lazuli, baskets of flowers made out of porcelain and much more.

The same thing happens today, where new making processes are used to emulate traditional practices. Digital technology imitates established making techniques but can go one step further and create astonishing artworks that were previously impossible to make.

Michael Eden’s 3D printed pieces can be coated with patinated copper, as two are here, or made to look like many other materials. The use of this technology can be used to raise questions about the definition of craft and the values that are ascribed to objects and the materials from which they are made.

After Saly II is one of Eden’s pieces created in response to the C18th prints and drawings of highly ornate fantasy vases by Jacques Saly and Louis-Joseph Le Lorrain, some of which are in the Waddesdon collection. It consists of figures derived from a 3D scan of a sculpture of a nymph in the collection of the Russian State Museum and a complex fountain or whirlpool hand drawn on computer software.

Photo © Mike Fear

The variety of artworks collected by the Rothschilds is one of the reasons that a tour of the Manor is so engrossing, there is something for everyone. The objects range from the sublime to the outrageous.

19th-century design indulged in an excess of ornamentation. At Waddesdon, a variety of historic styles are reinterpreted and revived. They co-exist in an eclectic but harmonious interior. The main house shows the influence of the 18th-century Parisian town house but within a neo-Renaissance interior, whereas the Bachelors’ Wing combines Renaissance and Medieval objects in interiors inspired by Spain and North Africa.

Amongst the many treasures of the collection, the architectural and ornamental works on paper collected by Edmond de Rothschild act as a reference library of ornament. Fantastical vases and ewers designed by François-Joseph Saly (1717–1776),Louis-Joseph Le Lorrain (1715–1759) and Giovanni Battista Piranesi (1720-1778) are made real and contemporary by Michael Eden’s innovative techniques.

Eden explores the idea of the iconic with After Piranesi I– made up of contemporary and historical icons, demonstrating that even though tastes and fashions have changed, society still places its heros and heroines on pedestals. Icons, which incorporates famous art works into its Sèvres form, in a style reminiscent of the late American artist Keith Haring. After Saly I is composed of a cloudburst of miniature versions of four of the most iconic Sèvres vase shapes, all of which are found at Waddesdon.

Photo © Mike Fear

Natural history became a common ‘polite’ activity in the 18thcentury, and amateurs and professionals would collect specimens from the natural kingdom, and study and classify them. The introduction of technology such as microscopes allowed hitherto unknown worlds of pattern to be discovered and disseminated in books and at public lectures.

The fascination with these new natural patterns led to them being used as surface decoration on ceramics. The 18th -century Sèvres vermiculésurface pattern, most often applied in gilding over a ground colour, is one example that can been seen on a number of pieces in the collections at Waddesdon. These patterns were not only beautiful, but visually displayed the latest knowledge.

Michael Eden is able to make these microscopic patterns in large, but also in 3 D. His vases are formed from molecular and geological structures, some of which are taken from contemporary microscopy images and play with the idea of art versus nature.

The ceramics at Waddesdon are stored in the winter in their 19th–century storage boxes, which could also be used to transport them. These boxes envelop the objects they are designed to protect but also allow the owner to show them to others, both to aesthetic advantage and in padded security.

Photo © Mike Fear

The term Enlightenment is used to describe how all branches of human knowledge flourished in Europe in the 18thcentury, but it can also refer to a state of spiritual existence. The use of light is not only figurative, but literal and all the preceding themes are brought together in an ensemble which assails the senses, in a reimagining of the Manor.

Michael Eden’s works are displayed next to some of the objects that have inspired them, which have emerged from their shrouds. Everything is fully revealed ready for the visitor to enjoy. At this point, the complex ways in which Waddesdon can inspire become tangible.

Each of the pieces explores one or more of the themes described in the previous sections. They are designed to seduce and draw in the viewer, being at first sight familiar, yet on closer inspection alien and exotic.

Photo © Mike Fear

Trompe l’oeil is an artistic device that has been employed since Roman times at least. Examples are to be seen in Pompeii. Translated from the French as ‘deceive the eye’, it is often used to trick the viewer into assuming that a painted 2-dimensional picture is a real 3-dimensional scene.

Apollo Invertoworks on the same principle, but is obviously 3-dimensional. The design of the piece stems from my interest in visual perception and the way that we interpret the world around us. Normally we combine the information entering our eyes with our previous experience of similar situations and use the combination of information to make an estimate of what is in front of us. Invariably this works well, otherwise the world would be a very dangerous place.

But when confronted with something out of the ordinary the eye can be tricked into seeing something that does not exist. Apollo Invertoexploits this and in doing so alerts the viewer to the act of looking.

The head is based on one of the marble sculptures in grounds of Waddesdon Manor, which itself is a copy of the Apollo Belvedere, now in the Pio-Clementine Museum at the Vatican in Rome.

A 3D scan was used as the starting point, which was then manipulated in Rhino 3D software, the positive image then ‘morphed’ with a negative mirrored image. The final design was 3D printed and given a surface treatment to closely resemble Carrara marble.

Available through Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

Spiralis was inspired by my interest in the cultural role that architecture plays in society. Buildings are more than just stone or steel, slate or glass, they have meaning beyond the physical. They make statements, reflect their creator’s personality and polarise opinion.

The Spiralis is a hybridisation of historical architecture, demonstrating that the contemporary can be found in the past.

The 2 openings at each end of the spiral are based on Neo-Renaissance architectural details from Waddesdon Manor, a building that was conceived by Ferdinand de Rothschild and became his life’s work.

My practice focuses on the creative use of 3D printing and the transfer of my ceramic skills to new tools that allow me to create ‘impossible’ objects for the first time. Spiralis was created using Rhino 3D Computer Aided Design software (CAD), a process that took many hours of intense work and once satisfied with the form, the CAD files were used to print the piece, slowly, layer by layer. Once printed, it was given a surface treatment to closely resemble Carrara marble.

Available from Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

Spiralis was inspired by my interest in the cultural role that architecture plays in society. Buildings are more than just stone or steel, slate or glass, they have meaning beyond the physical. They make statements, reflect their creator’s personality and polarise opinion.

The Spiralis is a hybridisation of historical architecture, demonstrating that the contemporary can be found in the past.

The 2 openings at each end of the spiral are based on Neo-Renaissance architectural details from Waddesdon Manor, a building that was conceived by Ferdinand de Rothschild and became his life’s work.

My practice focuses on the creative use of 3D printing and the transfer of my ceramic skills to new tools that allow me to create ‘impossible’ objects for the first time. Spiralis was created using Rhino 3D Computer Aided Design software (CAD), a process that took many hours of intense work and once satisfied with the form, the CAD files were used to print the piece, slowly, layer by layer. Once printed, it was given a surface treatment to closely resemble Carrara marble.

Available from Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

After Saly II is one of the artworks created in response to the Waddesdon Manor collection. The variety of artworks amassed by Ferdinand de Rothschild is one of the reasons that a tour of the house is so engrossing, there is something for almost everyone. The objects range from the subtle through to the outrageous.

Victorian design is acknowledged as having indulged in an excess of ornamentation. It is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Middle Eastern and Asian influences. This Victorian enthusiasm is evident throughout Waddesdon, seen in objects such as furniture, fittings, and interior decoration.

In addition to the actual artworks there is a fascinating collection of prints and drawings, including some wonderful engravings and drawings of fantastical vases and jugs by Jacques-François-Joseph Saly, a French sculptor who was active in the middle years of the 18th century. They feature animated figures of tritons, lions and cupids, all energetically captured in his prints.

In response to these and some of the artworks from the collection, After Saly II was created using a combination of 21st century technology and traditional craftsmanship.

A 3D scan of a bathing nymph from the Russian State Museum was used as the starting point, combined with a whirling cascade of water painstakingly created in Rhino 3D software. The final design was 3D printed, then copper plated and subsequently given a Verdigris patina.

Private collection, through Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

After Saly II is one of the artworks created in response to the Waddesdon Manor collection. The variety of artworks amassed by Ferdinand de Rothschild is one of the reasons that a tour of the house is so engrossing, there is something for almost everyone. The objects range from the subtle through to the outrageous.

Victorian design is acknowledged as having indulged in an excess of ornamentation. It is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Middle Eastern and Asian influences. This Victorian enthusiasm is evident throughout Waddesdon, seen in objects such as furniture, fittings, and interior decoration.

In addition to the actual artworks there is a fascinating collection of prints and drawings, including some wonderful engravings and drawings of fantastical vases and jugs by Jacques-François-Joseph Saly, a French sculptor who was active in the middle years of the 18th century. They feature animated figures of tritons, lions and cupids, all energetically captured in his prints.

In response to these and some of the artworks from the collection, After Saly II was created using a combination of 21st century technology and traditional craftsmanship.

A 3D scan of a bathing nymph from the Russian State Museum was used as the starting point, combined with a whirling cascade of water painstakingly created in Rhino 3D software. The final design was 3D printed, then copper plated and subsequently given a Verdigris patina.

Private collection, through Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

After Le Lorrain I is one of the artworks created in response to the Waddesdon Manor collection. The variety of artworks amassed by Ferdinand de Rothschild is one of the reasons that a tour of the house is so engrossing, there is something for almost everyone. The objects range from the subtle through to the outrageous.

Victorian design is acknowledged as having indulged in an excess of ornamentation. It is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Middle Eastern and Asian influences. This Victorian enthusiasm is evident throughout Waddesdon, seen in objects such as furniture, fittings, and interior decoration.

In addition to the actual artworks there is a fascinating collection of prints and drawings, including some wonderful engravings of fantastical vases and jugs by Louis-Joseph Le Lorrain, a French painter and engraver who was active in the first half of the 18thcentury. They feature animated figures of tritons, lions and cupids, all energetically captured in his prints.

In response to these and some of the artworks from the collection, After Le Lorrain I was created using a combination of 21stcentury technology and traditional craftsmanship.

A 3D scan of courgette leaves from my garden and a scan of a classical dancing figure sculpture were used as the starting points. These were combined with some historic and contemporary musical references, painstakingly created in Rhino 3D software. After many iterations, the final design was 3D printed, then given the rich purple coating.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

After Le Lorrain I is one of the artworks created in response to the Waddesdon Manor collection. The variety of artworks amassed by Ferdinand de Rothschild is one of the reasons that a tour of the house is so engrossing, there is something for almost everyone. The objects range from the subtle through to the outrageous.

Victorian design is acknowledged as having indulged in an excess of ornamentation. It is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Middle Eastern and Asian influences. This Victorian enthusiasm is evident throughout Waddesdon, seen in objects such as furniture, fittings, and interior decoration.

In addition to the actual artworks there is a fascinating collection of prints and drawings, including some wonderful engravings of fantastical vases and jugs by Louis-Joseph Le Lorrain, a French painter and engraver who was active in the first half of the 18thcentury. They feature animated figures of tritons, lions and cupids, all energetically captured in his prints.

In response to these and some of the artworks from the collection, After Le Lorrain I was created using a combination of 21stcentury technology and traditional craftsmanship.

A 3D scan of courgette leaves from my garden and a scan of a classical dancing figure sculpture were used as the starting points. These were combined with some historic and contemporary musical references, painstakingly created in Rhino 3D software. After many iterations, the final design was 3D printed, then given the rich purple coating.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

Icons is based on a Sèvres potpourri porcelain vase in the Waddesdon Manor collection. I have made quite a liberal interpretation of the vase, opening up and replacing the piercing with a lattice structure. The original decoration, featuring leaves, flowers and a bucolic, romantic scene has been replaced with Keith Haring style silhouettes of iconic works of art, such as the Mona Lisa and Venus de Milo.

The soft, delicate pinks and pastel colours have been updated to a loud, luminous orange, bringing the artwork firmly into the 21st century.

This piece was only made possible by the use of new technology, in particular 3D printing, where a drawing is created using 3D software and used to fuse together extremely fine layers of material, in this particular case, nylon. Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that were previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

Available through Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

After Piranesi Iis one of the artworks created in response to the Waddesdon Manor collection. The variety of artworks amassed by Ferdinand de Rothschild is one of the reasons that a tour of the house is so engrossing, there is something for almost everyone. The objects range from the subtle through to the outrageous.

Victorian design is acknowledged as having indulged in an excess of ornamentation. It is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Middle Eastern and Asian influences. This Victorian enthusiasm is evident throughout Waddesdon, seen in objects such as furniture, fittings, and interior decoration.

In addition to the actual artworks there is a fascinating collection of prints and drawings, including some wonderful engravings and drawings of fantastical vases and jugs by Jacques-François-Joseph Saly, a French sculptor who was active in the middle years of the 18thcentury. They feature animated figures of tritons, lions and cupids, all energetically captured in his prints. Also in the collection are references to Giovanni Battista Piranesi, an C18th Italian artist and sculptor. I first came across Piranesi when creating the Innovo Vase, an interpretation of the Stowe Vase for Los Angeles County Museum of Art. It appears that Piranesi, alongside producing etchings of fictitious and fantastical architectural interiors was also skilful at ‘restoring’ ancient sculptures, often constructed from parts of different artefacts.

So, in the spirit of Piranesi, the vase brings together historical and contemporary references from popular culture.

After Piranesi Iwas created using a combination of 21stcentury technology and traditional craftsmanship.

3D scans of museum artworks combined with a C20th icons were used as the starting point, painstakingly remodelled in Rhino 3D software. The final design was 3D printed and hand finished.

Available through Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

After Piranesi I is one of the artworks created in response to the Waddesdon Manor collection. The variety of artworks amassed by Ferdinand de Rothschild is one of the reasons that a tour of the house is so engrossing, there is something for almost everyone. The objects range from the subtle through to the outrageous.

Victorian design is acknowledged as having indulged in an excess of ornamentation. It is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Middle Eastern and Asian influences. This Victorian enthusiasm is evident throughout Waddesdon, seen in objects such as furniture, fittings, and interior decoration.

In addition to the actual artworks there is a fascinating collection of prints and drawings, including some wonderful engravings and drawings of fantastical vases and jugs by Jacques-François-Joseph Saly, a French sculptor who was active in the middle years of the 18thcentury. They feature animated figures of tritons, lions and cupids, all energetically captured in his prints. Also in the collection are references to Giovanni Battista Piranesi, an C18th Italian artist and sculptor. I first came across Piranesi when creating the Innovo Vase, an interpretation of the Stowe Vase for Los Angeles County Museum of Art. It appears that Piranesi, alongside producing etchings of fictitious and fantastical architectural interiors was also skilful at ‘restoring’ ancient sculptures, often constructed from parts of different artefacts.

So, in the spirit of Piranesi, the vase brings together historical and contemporary references from popular culture.

After Piranesi I was created using a combination of 21stcentury technology and traditional craftsmanship.

3D scans of museum artworks combined with a C20th icons were used as the starting point, painstakingly remodelled in Rhino 3D software. The final design was 3D printed and hand finished.

Available through Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

After Saly II is one of the artworks created in response to the Waddesdon Manor collection. The variety of artworks amassed by Ferdinand de Rothschild is one of the reasons that a tour of the house is so engrossing, there is something for almost everyone. The objects range from the subtle through to the outrageous.

 Victorian design is acknowledged as having indulged in an excess of ornamentation. It is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Middle Eastern and Asian influences. This Victorian enthusiasm is evident throughout Waddesdon, seen in objects such as furniture, fittings, and interior decoration.

 In addition to the actual artworks there is a fascinating collection of prints and drawings, including some wonderful engravings and drawings of fantastical vases and jugs by Jacques-François-Joseph Saly, a French sculptor who was active in the middle years of the 18th century. They feature animated figures of tritons, lions and cupids, all energetically captured in his prints.

In response to these and some of the artworks from the collection, After Saly II was created  using a combination of 21stcentury technology and traditional craftsmanship.

 A 3D scan of a bathing nymph from the Russian State Museum was used as the starting point, combined with a  whirling cascade of water painstakingly created in Rhino 3D software. The final design was 3D printed, then copper plated and subsequently given a Verdigris patina.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The inspiration for the Coccolith Vase comes from early microscopy imagery used as starting points for the surface decoration of some Sèvres ceramics. During the period when these and other extraordinary ceramic vases were made there was a strong interest in science and natural history, used not only for their aesthetic appeal, but also to demonstrate that the owner was a person of taste and education.

In order to bring these ideas into the 21st century, I have made deliberate use of new technology.

The creation of the Coccolith Vase was only made possible by the use of new technology, in particular 3D printing. Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that was previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

The surface structure of the Coccolith Vase is taken from contemporary microscopy imagery of coccolith scales which are calcium carbonate deposits made by underwater algae. The structures were  drawn by hand using 3D CAD software, which enables 2D line drawings to be translated into 3 dimensional structures. The drawing process required numerous iterations until I was happy with the final version. These were then arranged around my drawing of a Sèvres Vase which was deleted once the coccolith parts were successfully positioned. The data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer until the piece was complete. After cleaning, the Coccolith Vase was coated in a colour selected for both its historic reference and contemporary appeal.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The inspiration for the Coccolith Vase comes from early microscopy imagery used as starting points for the surface decoration of some Sèvres ceramics. During the period when these and other extraordinary ceramic vases were made there was a strong interest in science and natural history, used not only for their aesthetic appeal, but also to demonstrate that the owner was a person of taste and education.

In order to bring these ideas into the 21st century, I have made deliberate use of new technology.

The creation of the Coccolith Vase was only made possible by the use of new technology, in particular 3D printing. Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that was previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

The surface structure of the Coccolith Vase is taken from contemporary microscopy imagery of coccolith scales which are calcium carbonate deposits made by underwater algae. The structures were  drawn by hand using 3D CAD software, which enables 2D line drawings to be translated into 3 dimensional structures. The drawing process required numerous iterations until I was happy with the final version. These were then arranged around my drawing of a Sèvres Vase which was deleted once the coccolith parts were successfully positioned. The data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer until the piece was complete. After cleaning, the Coccolith Vase was coated in a colour selected for both its historic reference and contemporary appeal.

Exhibited at Waddesdon Manor Form and Transform exhibition, 2018.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The inspiration for the Coccolith Vase comes from early microscopy imagery used as starting points for the surface decoration of some Sèvres ceramics. During the period when these and other extraordinary ceramic vases were made there was a strong interest in science and natural history, used not only for their aesthetic appeal, but also to demonstrate that the owner was a person of taste and education.

In order to bring these ideas into the 21st century, I have made deliberate use of new technology.

The creation of the Coccolith Vase was only made possible by the use of new technology, in particular 3D printing. Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that was previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

The surface structure of the Coccolith Vase is taken from contemporary microscopy imagery of coccolith scales which are calcium carbonate deposits made by underwater algae. The structures were  drawn by hand using 3D CAD software, which enables 2D line drawings to be translated into 3 dimensional structures. The drawing process required numerous iterations until I was happy with the final version. These were then arranged around my drawing of a Sèvres Vase which was deleted once the coccolith parts were successfully positioned. The data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer until the piece was complete. After cleaning, the Coccolith Vase was coated in a colour selected for both its historic reference and contemporary appeal.

Exhibited at Waddesdon Manor Form and Transform exhibition, 2018.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The Pair of Caillouté Vases are based on a piece in Waddesdon’s impressive collection of French 18th century Sèvres porcelain. I was particularly attracted to one particular shape decorated with a surface pattern known as caillouté (pebbled). Apparently, this pattern was inspired by early microscopy imagery of cell structures.

In order to create an interpretation and update, The Waddesdon vase was 3D scanned, a technique that accurately captures the form of an object as data. The virtual version of the vase can then be imported into the Rhino3D CAD software that I employ and used as the starting point.

My pierced versions were created by constructing connected internal and external surface structures from a 3-dimensional version of the gilded surface pattern.  

The central cartouche illustration of the Sèvres Vase was photographed and simplified in Photoshop, the 2-diemnsional image being then translated into a 3-dimensional structure in Rhino3D.

Each stage of the process requires a great deal of trial and effort until the result is not only aesthetically pleasing and technically sound., but possesses a narrative that the viewer is able to engage with.

Once the design stage is complete, the data is sent to the company that manufactures and finishes my work. They possess the very latest 3D printing technology and have both the traditional and 21st century craft skills necessary to produce these unique artworks. Once printed and coated, the Caillouté Vases were then decorated with 24ct. gold leaf.

Collection of the Rothschild Foundation for Waddesdon Manor. Acquired through Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The Vermiculé Vase II is based on classical ceramic vase forms that  became fashionable at the end of the 18th century. Examples were  made on both sides of the English Channel by manufacturers such as Wedgwood and Bentley in Burslem and the Sèvres manufactory in Paris.

During the period when these and other extraordinary ceramic vases were made there was a strong interest in science and natural history, which was sometimes reflected in surface decoration of decorative objects.

The bringing together of art and science in a decorative object is unusual now, but at the time when these vases were made there was much less separation between branches of learning. Groups of learned people such as the Lunar Society (of which Josiah Wedgwood was a member) would explore wide ranging interests and treated the arts, humanities and sciences as compatible equals, a view that we would do well to return to.

In order to reflect on this, I created a 3-dimnesional vermiculé structure of the pattern that can be seen both decorating some of the Sèvres porcelain vases in the Waddesdon collection and  the corner stones of a section of the Manor’s entrance..

The creation of the Vermiculé Vase II was only made possible by the use of new technology, in particular 3D printing, where a drawing is created using 3D software and used to fuse together extremely fine layers of material, in this particular case, nylon. Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that were previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The Vermiculé Vase II is based on classical ceramic vase forms that  became fashionable at the end of the 18th century. Examples were  made on both sides of the English Channel by manufacturers such as Wedgwood and Bentley in Burslem and the Sèvres manufactory in Paris.

During the period when these and other extraordinary ceramic vases were made there was a strong interest in science and natural history, which was sometimes reflected in surface decoration of decorative objects.

The bringing together of art and science in a decorative object is unusual now, but at the time when these vases were made there was much less separation between branches of learning. Groups of learned people such as the Lunar Society (of which Josiah Wedgwood was a member) would explore wide ranging interests and treated the arts, humanities and sciences as compatible equals, a view that we would do well to return to.

In order to reflect on this, I created a 3-dimnesional vermiculé structure of the pattern that can be seen both decorating some of the Sèvres porcelain vases in the Waddesdon collection and  the corner stones of a section of the Manor’s entrance..

The creation of the Vermiculé Vase II was only made possible by the use of new technology, in particular 3D printing, where a drawing is created using 3D software and used to fuse together extremely fine layers of material, in this particular case, nylon. Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that were previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The Elephant Vases are based on a vase à têtes d'éléphant, first made by the Sèvres Manufactory in 1756, which is one of 7 examples in the Waddesdon collection.

During the period when these and other extraordinary ceramic vases were made there was a strong interest in science and natural history, which was reflected in surface decoration. Though this is not evident on the Waddesdon vase that was 3D scanned and used as the basis of my interpretation, it can be seen in other Sèvres pieces in the Waddesdon collection. For instance, the vermiculé pattern that I appropriated for my Vermiculé Vases uses microscopy imagery as inspiration for  a decorative pattern. The bringing together of art and science in a decorative object is unusual now, but at the time when these vases were made there was much less separation between branches of learning. Groups of learned people such as the Lunar Society would explore wide ranging interests and treated the arts, humanities and sciences as compatible equals, a view that we would do well to return to.

In order to reflect on this, I based the pattern that pierces the vases on contemporary micrograph imagery of elephant hide.

The Elephant Vases were only made possible by the use of new technology, in particular 3D scanning and 3D printing. The original Waddesdon Sèvres Vase was scanned and the data used as the basis of the design. After the intense and time consuming development of the design the data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer of material, in this particular case, nylon, until the piece was complete.

 Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that were previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

I was attracted to the Waddesdon Cuvette-Mahon, made by the Sèvres Manufactory because of its vigorous, flowing rococo swirls. As a response to its exuberance, I decided to enhance the rococo theme by making the whole structure a pierced interpretation.

To go about this the first stage was to 3D scan the vase, a process which captures 3-dimensional forms as data, which can then be reshaped using 3D CAD software. The next stage was select a typical section of rococo surface pattern and simplify it in Photoshop.

This image was then imported into Rhino 3D CAD software and translated into a virtual 3-dimensional structure that was then used to pierce the 3D scan of the Waddesdon Manor Cuvette.

The creation of Rococo I was only made possible by the use of new technology, in particular 3D scanning and 3D printing. After the intense and time consuming development of the design the data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer of material, in this particular case, nylon, until the piece was complete.

Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that were previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The creation of Dido Monstrance was inspired by the design for a monstrance, probably by Benoit II Audran, that I saw in the Waddesdon Manor collection and the monstrance sunburst detailing on a clock in the Small Library made by Jean-Pierre Latz.

The word monstrance can be translated as ‘to demonstrate’ or ‘to show’ and this is the primary purpose of monstrance used in some church services where the consecrated host is displayed. They are also used as reliquaries for relics of saints.

 I chose Dido as the title, as its dictionary definition is ‘to disseminate or distribute’, words not far removed from the meaning of monstrance. It also has an informal meaning in the US of undertaking mischievous tricks or deeds.

 The Dido Monstrance features a repeated, seated figure, at the base, possibly Chrysippus, a Stoic philosopher and scholar of the third century BC. The 3D model was made available by Scan the World an online repository of an ever increasing number of high quality 3D scans of museum objects. The original figure is headless, so using 3D CAD software, I merged the head from another 3D scan to produce the complete figure.

Look closely and you will see that the figure, deep in philosophical thought is staring intently at his mobile phone. And then, note the end cross sections of the sunbursts and you will see social media logos.

The Dido Monstrance is intended as a thought provoking artwork, which whilst incorporating historical references is very much set in the 21st century,. It explores the ubiquitous presence of social media and questions the ways in which we engage and reflect upon our contemporary world.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The word monstrance can be translated as ‘to demonstrate’ or ‘to show’ and this is the primary purpose of monstrance used in some church services where the consecrated host is displayed. They are also used as reliquaries for relics of saints.

 I chose Dido as the title, as its dictionary definition is ‘to disseminate or distribute’, words not far removed from the meaning of monstrance. It also has an informal meaning in the US of undertaking mischievous tricks or deeds.

 The Dido Monstrance features a repeated, seated figure, at the base, possibly Chrysippus, a Stoic philosopher and scholar of the third century BC. The 3D model was made available by Scan the World an online repository of an ever increasing number of high quality 3D scans of museum objects. The original figure is headless, so using 3D CAD software, I merged the head from another 3D scan to produce the complete figure.

Look closely and you will see that the figure, deep in philosophical thought is staring intently at his mobile phone. And then, note the end cross sections of the sunbursts and you will see social media logos.

The Dido Monstrance is intended as a thought provoking artwork, which whilst incorporating historical references is very much set in the 21st century,. It explores the ubiquitous presence of social media and questions the ways in which we engage and reflect upon our contemporary world.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

The pot-pourri vase in the shape of a masted ship is arguably the most famous model made by the Sèvres manufactory, and was copied by several English and Continental factories.It is one of 3 in the Waddesdon Manor collection of the 10 known to exist today.

I was attracted to this exuberant vase partly because of the enormous skill required to create such pieces and also the brutal scene, illustrating what is thought to be French and Prussian soldiers in close combat. The decoration is in sharp contrast to the usual floral or bucolic scenes found on most Sèvres ceramics.

To create an interpretation the first stage was to 3D scan the vase, a process which captures 3-dimensional forms as data, which can then be reshaped using 3D CAD software. The next stage, using a combination of sketchbook, Photoshop and Rhino CAD software was to draw a selection of forms commonly found on Sèvres ceramics. In addition I have secreted an image of C21st weaponry. These were used to laboriously ‘pierce’ the virtual pot-pourri vase, in order to create an interpretation that has required the development over many years of new skills, combined with traditional making and finishing skills.

After the intense and time consuming development of the design the data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer of material, in this particular case, nylon,until the piece was complete. It was then hand finished and 24ct gold leaf applied to enhance some of the pierced decoration.

Available through Adrian Sassoon, London.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

I was attracted to the Waddesdon Cuvette Mahon, made by the Sèvres Manufactory because of its vigorous, flowing rococo swirls. As a response to its exuberance, I decided to enhance the rococo theme by taking a common motif of the rococo and baroque, a putti (or cherub) and making it become the complete pierced structure.

To go about this the first stage was to 3D scan the vase, a process which captures 3-dimensional forms as data, which can then be reshaped using 3D CAD software. The next stage was to find a number of typical putti online images, and simplify them in Photoshop. These image were then imported into Rhino 3D CAD software and translated into  3-dimensional virtual forms that were used to pierce the 3D scan of the Waddesdon Manor Cuvette.

The creation of Putti-Cuvette was only made possible by the use of new technology, in particular 3D scanning and 3D printing. The original Waddesdon Sèvres Cuvette was scanned and the data used as the basis of the design. After the intense and time consuming development of the design the data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer of material, in this particular case, nylon, until the piece was complete.

Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that were previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

During my research trips to Waddesdon Manor I was engrossed by the exuberance of the collection and the mind-boggling excess of decoration, particularly the myriad examples of scrollwork.  As a response, I decided to appropriate the rococo motif by creating a vase that encapsulated the same sense of movement and energy.

To go about this I selected a typical section of rococo surface pattern, and simplified it in Photoshop. This image was then imported into Rhino 3D CAD software and converted into a 3-dimensional structure that was then used to pierce a vase whose form I designed as an amalgam of traditional Oriental and Western ceramics.

I then created a ‘bouquet’ of rococo swirls by extruding variations of the motif.

The creation of the Acanthus Vase was only made possible by the use of new technology, in particular 3D printing. After the intense and time consuming development of the design the data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer of material, in this particular case, nylon, until the piece was complete.

Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that were previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.

I was attracted to the Waddesdon Manor Sèvres pot-pourri vase, made by the Sèvres Manufactory because of its vigorous, flowing rococo swirls. As a response to its exuberance, I decided to enhance the rococo theme by making the whole structure a pierced interpretation.

To go about this I selected a typical section of rococo surface pattern and simplified it in Photoshop. This image was then imported into Rhino 3D CAD software and converted into a 3-dimensional structure that was then used to pierce the 3D scan of the Waddesdon Manor Cuvette.

 The creation of Rococo II was only made possible by the use of new technology, in particular 3D printing. The original Waddesdon Sèvres Vase was studied and photographed, then drawn in Rhino 3D CAD software. After the intense and time consuming development of the design the data was then checked and sliced into thousands of 0.08mm layers by specialist software and the piece was 3D printed, slowly building each layer of material, in this particular case, nylon, until the piece was complete.

Since earliest times, craft has evolved, with innovation and the development of new tools enabling makers to create objects and artworks that were previously impossible or extremely difficult. This is certainly the case with 3D printing, as it allows me to produce objects that I could not previously create on the potter’s wheel. However, I firmly believe that all tools have their place and 3D printing does not replace them. As artists and makers, we simply have some new tools to choose from and can develop the craft skills required to fully exploit them.

Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu.