Michael Eden - Form and Transform exhibition, Waddesdon Manor 2018

Form and Transform exhibition view

Form and Transform exhibition view

1. Form and Fusion

The first setting is inspired by my first view of Waddesdon manor in the winter of 2016 when all the outdoor sculpture was wrapped to protect it from the elements.

Spiralis morphs 2 architectural details of the Manor and Apollo Inverto inverts a 3D scan of the head of Apollo, from a copy of the Apollo Belvedere situated in the Waddesdon gardens.

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Apollo Inverto 2018

Apollo Inverto 2018

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 Inverto works 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 Inverto exploits 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 from Adrian Sassoon, London

Spiralis 2018

Spiralis 2018

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

Spiralis 2018 - detail

Spiralis 2018 - detail

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

After Saly II 2018

After Saly II 2018

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

After Saly II, 2018 - detail

After Saly II, 2018 - detail

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

After Le Lorrain I, 2018

After Le Lorrain I, 2018

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.

Icons, 2018

Icons, 2018

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

After Piranesi I, 2018

After Piranesi I, 2018

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

After Piranesi I, 2018 - detail

After Piranesi I, 2018 - detail

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

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