http://www.michael-eden.com/home daily 1.0 2025-04-10 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1448272513092-V1MBP6M0PJG5BQCANPXI/home02.jpg Home https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1448272513092-V1MBP6M0PJG5BQCANPXI/home02.jpg Home https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744318258205-4KEE65KBW34AF8UG54Y5/Tassis+I+detail+ME220.eden.sassoon_2_%28c%29+Sylvain+Deleu.jpg Home http://www.michael-eden.com/edenceramics daily 0.75 2017-04-25 http://www.michael-eden.com/edenceramics/2017/4/25/tefaf-spring monthly 0.5 2017-04-25 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1493128391757-AS7LG82FIP4VNIMLW99V/emoji.jpg The Hand and the Glove... ramblings about making. - TEFAF Spring Emoji, 2017. Inspired the addition of NTT DOCOMO’s original set of 176 emoji to the MoMA collection. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1493128519769-IB6THU5OTGIF6032OA2X/Shards.jpg The Hand and the Glove... ramblings about making. - TEFAF Spring Shards, 2017. Inspired by my visits to the ever fascinating Sir John Soane Museum, London. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1493128733503-4K9TXROYJN8PPC4AM5QV/image-asset.jpeg The Hand and the Glove... ramblings about making. - TEFAF Spring Voxel-Sèvres, 2017. These vessels explores the relationship between the actual world of real objects and the virtual world of digital technology. http://www.michael-eden.com/edenceramics/2015/10/1/3d-ceramic-printing-at-the-british-ceramics-biennial monthly 0.5 2015-10-01 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1443696602739-8E5L9IJH2WWYKHKSZAVT/image-asset.jpeg The Hand and the Glove... ramblings about making. - 3D Ceramic Printing at the British Ceramics Biennial The modified 3D Systems 650 ceramic printer installed in the old Spode factory. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1443712554935-X1PAGU28EKHZERGATPR6/image-asset.jpeg The Hand and the Glove... ramblings about making. - 3D Ceramic Printing at the British Ceramics Biennial My Spode-u-Like, based partly on a Spode Portland vase design, incorporating imagery that I used on my Prtlnd Vase. I intend for these pieces to be decorated by ex-Spode painters and for them to be fired in the Spode factory. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1443697078307-IFXC6LUYBDFEOMK7Y53I/IMG_6763.jpg The Hand and the Glove... ramblings about making. - 3D Ceramic Printing at the British Ceramics Biennial A vase by Jennifer Gray and bust by John Rainey in the build chamber https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1443697274910-R0HLO5X6JH6PY0LUZODO/image-asset.jpeg The Hand and the Glove... ramblings about making. - 3D Ceramic Printing at the British Ceramics Biennial A bust by John Rainey, awaiting biscuit firing. http://www.michael-eden.com/edenceramics/2015/3/24/instagram-tattoos-and-the-tall-bloom monthly 0.5 2015-03-24 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1427212777733-L16TOQO1YK47RLJNDB1Q/image-asset.png The Hand and the Glove... ramblings about making. - Instagram, Tattoos and the Tall Bloom... http://www.michael-eden.com/edenceramics/2015/3/6/making-it-at-the-whitworth-art-gallery-manchester monthly 0.5 2015-03-06 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1425639140027-8B01L7R1O9G63NFAMUKF/image-asset.jpeg The Hand and the Glove... ramblings about making. - 'Making It' at the Whitworth Art Gallery, Manchester https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1425638829212-3CWAEN5E1GCM7PICX5ZJ/IMG_5821.JPG The Hand and the Glove... ramblings about making. - 'Making It' at the Whitworth Art Gallery, Manchester http://www.michael-eden.com/edenceramics/2014/11/makeshift.html monthly 0.5 2015-03-01 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1423935291004-20P6YSKW22Q4G0KPBAS2/image-asset.png The Hand and the Glove... ramblings about making. - MAKE:SHIFT Link to the Make:Shift website http://www.michael-eden.com/edenceramics/2014/11/bridging-gap.html monthly 0.5 2014-11-04 http://www.michael-eden.com/edenceramics/2013/12/very-good.html monthly 0.5 2013-12-13 http://www.michael-eden.com/edenceramics/2013/11/the-language-of-process.html monthly 0.5 2013-12-13 http://www.michael-eden.com/edenceramics/2013/11/long-live-revolution.html monthly 0.5 2013-12-13 http://www.michael-eden.com/edenceramics/2013/11/the-second-third-or-fourth-industrial.html monthly 0.5 2013-11-01 http://www.michael-eden.com/edenceramics/2013/08/joining-crafts-council.html monthly 0.5 2013-09-01 http://www.michael-eden.com/edenceramics/2013/06/ceramic-3d-printing-tests-07-some.html monthly 0.5 2013-06-20 http://www.michael-eden.com/edenceramics/2013/06/ceramic-3d-printing-tests-04-and-more.html monthly 0.5 2013-06-19 http://www.michael-eden.com/edenceramics/2013/06/ceramic-3d-printing-tests-04-yet-more.html monthly 0.5 2013-06-19 http://www.michael-eden.com/edenceramics/2013/06/ceramic-3d-printing-tests-04-more.html monthly 0.5 2013-06-17 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0.5 2012-07-09 http://www.michael-eden.com/edenceramics/2011/10/tool-at-hand.html monthly 0.5 2011-10-26 http://www.michael-eden.com/edenceramics/2011/05/post-craft-post-digital.html monthly 0.5 2011-05-16 http://www.michael-eden.com/edenceramics/2011/02/yet-more-actual-and-virtual.html monthly 0.5 2011-02-03 http://www.michael-eden.com/edenceramics/2010/09/more-hand-and-glove.html monthly 0.5 2010-09-25 http://www.michael-eden.com/edenceramics/2010/06/assemble-conference-some-thoughts.html monthly 0.5 2010-06-25 http://www.michael-eden.com/edenceramics/2010/03/arts-and-election.html monthly 0.5 2010-03-26 http://www.michael-eden.com/edenceramics/2010/03/midwife-and-gravedigger.html monthly 0.5 2010-03-15 http://www.michael-eden.com/edenceramics/2010/03/does-craft-matter.html monthly 0.5 2010-03-15 http://www.michael-eden.com/edenceramics/2009/06/jonathan-ive-on-rapid-prototyping-root.html monthly 0.5 2009-06-10 http://www.michael-eden.com/edenceramics/2009/05/ipotter.html monthly 0.5 2009-06-08 http://www.michael-eden.com/edenceramics/2009/04/080409-whats-new.html monthly 0.5 2009-05-18 http://www.michael-eden.com/edenceramics/2008/07/110708-my-last-week-at-college.html monthly 0.5 2008-07-16 http://www.michael-eden.com/edenceramics/2008/07/270608-research-funding.html monthly 0.5 2008-07-16 http://www.michael-eden.com/edenceramics/2008/06/200608-still-crazy.html monthly 0.5 2008-06-27 http://www.michael-eden.com/edenceramics/2008/06/130608-exam.html monthly 0.5 2008-06-13 http://www.michael-eden.com/edenceramics/2008/06/080608-end-of-show.html monthly 0.5 2008-06-13 http://www.michael-eden.com/edenceramics/2008/05/show-rca.html monthly 0.5 2008-05-29 http://www.michael-eden.com/edenceramics/2008/05/160508-digital-interference.html monthly 0.5 2008-05-17 http://www.michael-eden.com/edenceramics/2008/05/090508-getting-ready-for-show-rca.html monthly 0.5 2008-05-11 http://www.michael-eden.com/edenceramics/2008/05/020508-handing-in-thesis.html monthly 0.5 2008-05-04 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http://www.michael-eden.com/edenceramics/2007/09/140907-to-glaze-or-not-to-glaze.html monthly 0.5 2007-09-16 http://www.michael-eden.com/edenceramics/2007/08/170807.html monthly 0.5 2007-08-16 http://www.michael-eden.com/edenceramics/2007/07/200707-thinking-about-thesis.html monthly 0.5 2007-07-19 http://www.michael-eden.com/edenceramics/2007/07/week-ending-050707.html monthly 0.5 2007-07-09 http://www.michael-eden.com/edenceramics/2007/06/week-ending-290607.html monthly 0.5 2007-06-30 http://www.michael-eden.com/edenceramics/2007/06/week-ending-220607.html monthly 0.5 2007-06-24 http://www.michael-eden.com/edenceramics/2007/06/great-exhibition-2007-royal-college-of.html monthly 0.5 2007-06-13 http://www.michael-eden.com/edenceramics/2007/06/week-ending-010607.html monthly 0.5 2007-06-01 http://www.michael-eden.com/edenceramics/2007/05/week-ending-250507.html monthly 0.5 2007-05-27 http://www.michael-eden.com/edenceramics/2007/05/week-ending-180507the-centrality-of.html monthly 0.5 2007-05-27 http://www.michael-eden.com/edenceramics/2007/05/week-ending-110507.html monthly 0.5 2007-05-13 http://www.michael-eden.com/edenceramics/2007/05/week-ending-040507.html monthly 0.5 2007-05-07 http://www.michael-eden.com/edenceramics/2007/05/week-ending-270407_06.html monthly 0.5 2007-05-06 http://www.michael-eden.com/edenceramics/2007/05/week-beginning-160407.html monthly 0.5 2007-05-06 http://www.michael-eden.com/edenceramics/2007/04/introduction.html monthly 0.5 2007-05-05 http://www.michael-eden.com/2008-2010 daily 0.75 2025-04-14 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092125274-TA9T7MBTZK1CZH09S1JJ/Wedgwoodn%27t-bronze-02.jpg 2008 - 2010 - A tiny Wedgwoodn't Tureen, 2014 Patinated bronze. H.15cm/5 7/8", W. 16cm/6 1/4", D. 13cm/5 1/8" Available from Adrian Sassoon This is a new version of my first digital piece, which I created as my final project at the Royal College of Art. It is a small step forward as the making of this piece combines the 3000+ year old process of lost wax casting and 'post-industrial' manufacturing. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092125274-TA9T7MBTZK1CZH09S1JJ/Wedgwoodn%27t-bronze-02.jpg 2008 - 2010 - A tiny Wedgwoodn't Tureen, 2014 Patinated bronze. H.15cm/5 7/8", W. 16cm/6 1/4", D. 13cm/5 1/8" Available from Adrian Sassoon This is a new version of my first digital piece, which I created as my final project at the Royal College of Art. It is a small step forward as the making of this piece combines the 3000+ year old process of lost wax casting and 'post-industrial' manufacturing. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413834349432-1RQYC0MJXNTOK4GJUJKU/Wedgwoodn%27t-Tureen-garniture.jpg 2008 - 2010 - Wedgwoodn't Tureen Garniture, 2012 Made by Additive Layer Manufacturing from nylon material encased in patinated copper. Height 33cm (13") Width 60cm (23 5/8") Depth 13.5cm (5 5/16") Purchased by The Museum of Fine Arts, Houston, Texas, USA, 2014 through Adrian Sassoon Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411921789242-XYFBDEGFOWRGCS38LC1B/Wedgwoodn%27t-pink-CC.jpg 2008 - 2010 - The Wedgwoodn't Tureen 2010 The Wedgwoodn't Tureen, 3D printed with a pink coloured non-fired ceramic coating. This unique piece has been acquired by the Crafts Council, UK through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411976778265-8BALOLSMRXIHSVIYH1PE/Wedgoodn%27t-Tureen-lemon.jpg 2008 - 2010 - The Wedgwoodn't Tureen 2009 The Wedgwoodn't Tureen, 3D printed with a lemon coloured non-fired ceramic coating. This unique piece has been acquired by The Musée des Beaux Arts, Montreal, Canada through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411933599583-RBQBXO1QWFHSWKDL8XRL/Wedgoodn%27t-Tureen-orange-twist.jpg 2008 - 2010 - The Wedgwoodn't Tureen 2010 Round Terracotta Wedgwoodn't Tureen, 2010 Made by Additive Layer Manufacturing from nylon with mineral soft coating Height 29cm (11 3/8") Width 23.5cm (9 1/4") Depth 18.5cm (7") Private Collection, Australia, 2011 Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411921275745-M4IYLDK5KOAV75B9V0BL/Wedgoodn%27t-Tureen-1st.jpg 2008 - 2010 - The Wedgwoodn't Tureen 2008 Produced by 3D printing from a plaster/gypsum material with a unique non-fired ceramic coating Height 8 5/8" (22cm) Width 9 1/2" (24cm) Depth 5 7/8" (15cm) Private Collection, UK, 2008 Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411919340388-O5V2JTRH8I3EYXU4HB5D/%C3%80-Rebours-02.jpg 2008 - 2010 - À Rebours 2009 Made by Additive Layer Manufacturing from nylon with a unique non-fired ceramic coating and liquid gold leaf Height 39cm Width 30cm Depth 28cm Private Collection, New York, 2010 The piece was inspired by a pair of Sèvres porcelain lidded vases in the Wallace Collection, London (C284 and 285). My attraction to them was particularly in the playful, gold ceramic ‘fountains’ on the lids. My approach to reinterpreting the piece was to start by looking at the history of Sèvres, and the role that the ceramic pieces played in French society of the time. I was intrigued that the Manufactory was started in order to produce an imitation of the much sought after German hard-paste porcelain, itself an imitation of highly prized Chinese and Japanese porcelain. It was seen to represent wealth, importance, and refined taste. In Germany, Meissen was patronised by King Augustus, who amassed a huge collection, and in France Sèvres operated under the patronage of Louis XV. As royalty have often set fashion trends, the style of Sèvres porcelain was imitated by inferior manufacturers, enabling purchase by the less wealthy who aspired to possess the genuine article. This is essentially a story of imitation and aspiration, not only in style and materials but also in the symbolism of the objects. Jade was mimicked by celadon glazed ceramics; hard paste porcelain by soft-paste porcelain. The reverse happened in the development of Bone China, an attempt by Josiah Spode and others to imitate Chinese porcelain. It resulted in a very fine quality material that achieved high status. Precious metals are also imitated. Costume jewellery is another example of aspiration and imitation. It came into being in the 1930s as a cheap, disposable accessory meant to be worn with a specific outfit. It was intended to be fashionable for a short period of time, outdate itself, and then be repurchased to fit with a new outfit or new fashion style. In my re-interpretation of the Sèvres piece there is imitation, yet it is not a ‘costume jewellery’ alternative. I use processes that were originally intended for engineers yet allow enormous creative freedom; and materials that are ceramic, but are not used in traditional ways. So, my interpretation of the Sèvres piece is a paradox. The piece was designed on a computer and produced by Additive Manufacturing (also known as Rapid Manufacturing or 3D printing). So the piece is not hand made, though the design process took up to 150 hours of intense work. It is partly ceramic, though it has not been fired. The decoration is based on symbols of wealth, yet they are costume jewellery or more exactly ‘bling’. It is based on an exquisitely crafted object of enormous value. My piece is made from common and relatively inexpensive raw materials that have undergone very precise processing as a result of a great deal of research. And the manufacture of the piece is an expensive process that requires time and skill. In summing up I would say that my aim has been to create a beautiful object with historical and cultural references that proposes a dialogue between what is real and what is not. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092155937-8HVGIWZUDPBJILP3LHBB/Salix-Morrisia.jpg 2008 - 2010 - Salix Morrisia 2010 Made by 3D printing from a plaster and gypsum material encased in patinated copper Height 21cm (8 1/4") Width 24cm (9 1/2") Depth 21 cm (8 1/4") Exhibited at The 2011 Cheongu International Craft Biennale, South Korea Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. http://www.michael-eden.com/2011-2013 daily 0.75 2025-04-14 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092051224-JMZBGAT78LZ91EGSUSNG/Arte-Dolum-02.jpg 2011 - 2013 - Arte Dolum, 2013 Made by Additive Layer Manufacturing from nylon with a mineral soft coating and details in 24ct gold leaf Height 27.5cm (10 7/8") Width 46cm (18 1/8") Depth 18.5cm (7 1/4") Available through Adrian Sassoon The Internet is a place where we spend increasing amounts of time. We go there to talk to our friends, to play, to learn and to explore. It’s a place where space and time become blurred and the actual, physical world mixes with the virtual. Google allows us to explore the world as time-travellers to the recent past, floating through streets on the other side of the world. The Google Art Project allows us to walk through galleries and museums, and zoom in on the brush strokes of our favourite paintings. Why queue for the Uffizi when we can stroll through the empty galleries from the comfort of our armchairs? It is an extraordinary technical achievement, a very useful tool, but it’s not the real thing, you can’t smell the oil paint and you can’t quite walk all the way round the sculptures. It is a 2 dimensional interpretation of the real world. There is a vast amount of information available at the click of a mouse and with the development of software programmes and Apps some of that information can be visualised in different ways, including translating it from 2D to 3D. Arte Dolum was created to explore these issues. The starting point of the artwork was a detail of a baroque piece of furniture in The National Museum of Art, Architecture and Design in Oslo. I photographed it, from different angles, around 30 times with my iPhone and uploaded the images using the 123DCatch App. The images were then ‘stitched’ together using cloud technology and returned to the phone, minutes later as a joined up 3 dimensional image. Using software on my computer I then imported the 3D file and ‘reverse engineered’ it, stretching, reforming and connecting it to the baroque ‘ monitor screen’ at the opposite end, The blurred image of scroll work was taken from a virtual tour of the baroque Schleissheim New Palace near Munich. Arte Dolum is also an exploration of ‘Making’, relying on a combination of craft skills developed over many years as a potter and newly acquired skills gained through intensive use of new tools and technology over the past 7 or 8 years. It was created to seduce and intrigue the viewer and to reveal its story to those who care to look. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092051224-JMZBGAT78LZ91EGSUSNG/Arte-Dolum-02.jpg 2011 - 2013 - Arte Dolum, 2013 Made by Additive Layer Manufacturing from nylon with a mineral soft coating and details in 24ct gold leaf Height 27.5cm (10 7/8") Width 46cm (18 1/8") Depth 18.5cm (7 1/4") Available through Adrian Sassoon The Internet is a place where we spend increasing amounts of time. We go there to talk to our friends, to play, to learn and to explore. It’s a place where space and time become blurred and the actual, physical world mixes with the virtual. Google allows us to explore the world as time-travellers to the recent past, floating through streets on the other side of the world. The Google Art Project allows us to walk through galleries and museums, and zoom in on the brush strokes of our favourite paintings. Why queue for the Uffizi when we can stroll through the empty galleries from the comfort of our armchairs? It is an extraordinary technical achievement, a very useful tool, but it’s not the real thing, you can’t smell the oil paint and you can’t quite walk all the way round the sculptures. It is a 2 dimensional interpretation of the real world. There is a vast amount of information available at the click of a mouse and with the development of software programmes and Apps some of that information can be visualised in different ways, including translating it from 2D to 3D. Arte Dolum was created to explore these issues. The starting point of the artwork was a detail of a baroque piece of furniture in The National Museum of Art, Architecture and Design in Oslo. I photographed it, from different angles, around 30 times with my iPhone and uploaded the images using the 123DCatch App. The images were then ‘stitched’ together using cloud technology and returned to the phone, minutes later as a joined up 3 dimensional image. Using software on my computer I then imported the 3D file and ‘reverse engineered’ it, stretching, reforming and connecting it to the baroque ‘ monitor screen’ at the opposite end, The blurred image of scroll work was taken from a virtual tour of the baroque Schleissheim New Palace near Munich. Arte Dolum is also an exploration of ‘Making’, relying on a combination of craft skills developed over many years as a potter and newly acquired skills gained through intensive use of new tools and technology over the past 7 or 8 years. It was created to seduce and intrigue the viewer and to reveal its story to those who care to look. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092077594-JOJ669D4RY6S9P9IG6UK/Arte-Dolum-b-02.jpg 2011 - 2013 - Arte Dolum, 2013 Made by Additive Layer Manufacturing from nylon with a mineral soft coating and details in 24ct gold leaf Height 27.5cm (10 7/8") Width 46cm (18 1/8") Depth 18.5cm (7 1/4") Available through Adrian Sassoon The blurred image of scroll work was taken from a virtual tour of the baroque Schleissheim New Palace near Munich. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413833083511-J61BUVRTOZBLDTNC10CV/Tempus.jpg 2011 - 2013 - Tempus, 2013 Made by Additive Layer Manufacturing from nylon material with mineral soft coating Height 20cm (7 7/8") Width 42cm (16 1/2") Depth 42.5cm (16 3/4") Private Collection, USA, 2013 through Adrian Sassoon The Tempus 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. Based on C19th architectural models, the Tempus is a hybridisation of historical architecture, demonstrating that the contemporary can be found in the past. The entrances were based on a Norman arch at Lindisfarne Priory and a Neo-Renaissance architectural detail from Salt’s Mill in Bradford, UK. 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. It was created using 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413833284987-9TNHTI73GNJDEBHSHE90/Tempus-2.jpg 2011 - 2013 - Tempus, 2013 Made by Additive Layer Manufacturing from nylon material with mineral soft coating Height 20cm (7 7/8") Width 42cm (16 1/2") Depth 42.5cm (16 3/4") Private Collection, USA, 2013 through Adrian Sassoon The Tempus 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. Based on C19th architectural models, the Tempus is a hybridisation of historical architecture, demonstrating that the contemporary can be found in the past. The entrances were based on a Norman arch at Lindisfarne Priory and a Neo-Renaissance architectural detail from Salt’s Mill in Bradford, UK. 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. It was created using 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1449142817249-4Q9UT94S1BMORA33V8NV/Vncnns.jpg 2011 - 2013 - Vncnns Vase, 2013 Made by Additive Layer Manufacturing from nylon with a soft mineral coating. Based on low-resolution images available from a search engine to re-interpret the design of a famous work of art. Available through Adrian Sassoon This sculpture is based a Vincennes porcelain 'Vase Duplessis' of a model made in France circa 1750. Examples are in the Musée du Louvre, Paris; The State Hermitage Museum, St. Petersburg; the Fitzwilliam Museum, Cambridge and in the Minneapolis Institute of Art, USA. Height 35.5cm (14") Width 24.5cm (9 5/8") Depth 21cm (8 1/4") Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1412331326907-14XDRX8V6V027J1G4SNW/Prtlnd-Vase-02.jpg 2011 - 2013 - Prtlnd Vase, 2012 Made by Additive Layer Manufacturing from nylon with soft touch mineral coating. Height 30cm (11 3/4") Diameter 24cm (9 1/2") Michael Eden used visual information available from a search engine to re-interpret the design of a famous work of art. In this case the sculpture is based on the ancient Roman 'Portland Vase' made between 5AD and 25AD which is held in the collection of the British Museum, London. Purchased by The Art Fund for The New Walk Museum, Leicester, 2013 through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1412331312431-7F8BT7XCY7XZFTY35656/Prtlnd-Vase-01.jpg 2011 - 2013 - Prtlnd Vase, 2012 Height 30cm (11 3/4") Diameter 24cm (9 1/2") Made by Additive Layer Manufacturing from nylon with soft touch mineral coating. Michael Eden used visual information available from a search engine to re-interpret the design of a famous work of art. In this case the sculpture is based on the ancient Roman 'Portland Vase' made between 5AD and 25AD which is held in the collection of the British Museum, London. Purchased by The Art Fund for The New Walk Museum, Leicester, 2013 through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411980459162-13GBCF5EPRFDKDNQGLI5/Maelstrom-silver.jpg 2011 - 2013 - Maelstrom VIII, 2011 Made by Additive Layer Manufacturing from nylon encased in patinated silver Height 30cm (11 3/4") Width 18cm (7 1/8") Depth 10cm (3 7/8") Private Collection, New York, 2013 Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411980049487-M7OGEVFNL5M2XNZJWKFV/Maelstrom.jpg 2011 - 2013 - Maelstrom IX, 2011 Made by Additive Layer Manufacturing from nylon with a mineral soft coating Height 40cm (11 3/4") Width 21cm (8 ¼") Depth 13cm (5") Artist’s Collection Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1412186690610-LZG21GKG9JG2JAF5CU5A/Vortex-edition.jpg 2011 - 2013 - Vortex edition Made by Additive Layer Manufacturing from nylon with a mineral soft coating. A limited edition of 12 in various colours available through Adrian Sassoon Height 24cm (9 1/2") Width 22cm (8 5/8") Depth 16.5c (6 1/2") Exhibited at The 2011 Cheongu International Craft Biennale, South Korea Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1412186751031-3ETZOBJT3KIYT1ODQGWM/Vortex-copper.jpg 2011 - 2013 - Copper Vortex Made by Additive Layer Manufacturing from nylon encased in patinated copper. Unique Artists Proof Height 28cm (11") Width 25cm (9 7/8") Depth 16cm (6 1/4") Private Collection, Italy, 2011 Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411981471957-DP6KBIUDBPK4LVC0N01Q/Bloom-Tall-green.jpg 2011 - 2013 - Tall Green Bloom, 2012 Made by Additive Layer Manufacturing from nylon with a mineral soft coating. No 4 in a limited edition of 12 in various colours. Height 41cm (16 1/8") Diameter 18cm (7 1/8") Purchased by The Cooper-Hewitt National Design Museum, New York, 2013 through Adrian Sassoon Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411981566180-ZYYYCY28EHKU3IUZBA2F/Bloom-Tall-yellow.jpg 2011 - 2013 - Tall Yellow Bloom, 2012 Made by Additive Layer Manufacturing from nylon with a mineral soft coating. No. 3 in an edition of 12 in various colours. Height 41cm (16 1/8") Diameter 18cm (7 1/8") Available through Adrian Sassoon Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411981741129-DA3UNQ9940V7OU159C3B/Bloom-red.jpg 2011 - 2013 - Bloom 2014 Made by Additive Layer Manufacturing from nylon with a mineral soft coating, limited edition of 24 in various colours Height 22cm (8 5/8") Diameter 19cm (7 1/2") Available through Adrian Sassoon Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413832593245-8VZTHKI4K9IGZ8X29BR0/Bloom-Large-oval-white.jpg 2011 - 2013 - Large white oval Bloom, 2011 Made by Additive Layer Manufacturing from nylon with a mineral soft coating, limited edition 2 of 12 in various colours Height 34cm (13 3/8") Width 28.5cm (11 1/4") Depth 18cm (7 1/8") Private Collection, The Netherlands, 2011 through Adrian Sassoon Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413832485556-0I40H2CLQQRQ1PKCJFNF/Babel-Vessel.jpg 2011 - 2013 - The Babel Vessel, 2012 Made by Additive Layer Manufacturing from a high quality nylon material with mineral soft coating Height 36.5cm (14 3/8") Diameter 20cm (7 7/8") Purchasded by Aberdeen Art Gallery, 2013 through Adrian Sassoon Quick Response (QR) codes are a variation of the barcodes found on almost every product in the supermarket. As with barcodes, they can be used to provide information when scanned with a barcode reader; in this case the QR code provides a link to a page on my website. Readers now come as standard on some mobile phones and can be downloaded for many other types of phone. My aim was to translate the 2D QR code into a 3 dimensional object, so that the viewer, if equipped with a barcode reader could have simultaneous actual and virtual experiences of the vase. As in my previous work, I wished to use this one to tell a story. On a visit to the British Museum in London, I was intrigued by some 6th century BCE Chinese wine vessels with raised geometric surface patterns that turned out to be a language used to describe events that the wine vessel was made to commemorate. So I decided to use language as the theme. Using Rhino CAD software I extruded the 2D QR code into a virtual 3D block. This was then ‘sculpted’ to give it the shape of the wine vessel. The data was sent to the Digital manufacturing Centre at the Bartlett School of Architecture at UCL in London where it was printed in nylon on an EOS Selective Laser Sintering machine. It was then coated with a mineral ‘Soft touch’ surface treatment. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413832839349-TPQJPDMUKDHHZB4FPF97/Mnemosyne-01.jpg 2011 - 2013 - Mnemosyne, 2011 Made by Additive Layer Manufacturing from nylon with a mineral soft coating Height 14.5cm (5 3/4") Width 18.5cm (7 1/4") Depth 18.5 cm (7 1/4") Purchased by The Carnegie Museum of Art, USA, 2013 through Adrian Sassoon To begin with, I generated a QR code and then extruded the resulting 2-dimensional image into a 3-dimensional form using CAD software. This was then given the shape of a traditional jewellery box. So the idea is that the owner can scan the Mnemosyne with a Smart phone barcode reader App, which then connects to a website page where stories can be told, memories stored, photos deposited, sounds locked away, thereby creating a simultaneous actual and virtual experience. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413832904880-U5TPVDDUGNE3EC7XW4M3/Mnemosyne-03.jpg 2011 - 2013 - Mnemosyne, 2011 Made by Additive Layer Manufacturing from nylon with a mineral soft coating Height 14.5cm (5 3/4") Width 18.5cm (7 1/4") Depth 18.5 cm (7 1/4") Purchased by The Carnegie Museum of Art, USA, 2013 through Adrian Sassoon Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413833635488-6T65JDZ69ONRL4MV6W5S/Vinculum-II.jpg 2011 - 2013 - Vinculum II, 2011 Made by Additive Layer Manufacturing from nylon material with a purple mineral soft coating Height 33cm (13") Width 27cm (10 5/8") Depth 18cm (7 1/8") Available through Adrian Sassoon. This piece is one of the exhibits in Michael Eden: History Re-Printed at the Holburne Museum, Bath, UK from November 21 to March 28, 2016 The Vinculum II acts as a link, a bridge between two worlds. It brings together 21st century craft and cutting edge technology with their rich historical roots. Through the use of a QR (Quick Response) code the physical object is liberated and connected to a virtual experience with the potential to lead on to further actual experiences. QR barcodes are similar to the barcodes we find on most products in the supermarket. They function as a link to factual information; I was interested exploring their potential for story telling. To begin with, I generated a QR code and then extruded the resulting 2-dimensional image into a 3-dimensional form using CAD software. This was then given the shape inspired the creamware of Josiah Wedgwood. So the idea is that the owner can scan the Vinculum with a Smart phone barcode reader App, which then connects to a website page where stories can be told, thereby creating a simultaneous actual and virtual experience. In the setting of a museum or gallery the viewer can be re-directed to other related objects in the collection, enhancing and deepening their experience. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413833540837-C0R3XVG76CHKAY3Y9M4K/Vinculum-I.jpg 2011 - 2013 - Vinculum I, 2011 Made by Additive Layer Manufacturing from nylon material with mineral soft coating Height 30cm (11 3/4") Width 29cm (11 3/8") Depth 23.5cm (9") Acquired through Adrian Sassoon. Private Collection. The Vinculum acts as a link, a bridge between two worlds. It brings together 21st century craft and cutting edge technology with their rich historical roots. Through the use of a QR (Quick Response) code the physical object is liberated and connected to a virtual experience with the potential to lead on to further actual experiences. Quick Response (QR) barcodes are similar to the barcodes we find on most products in the supermarket. They function as a link to factual information; I was interested exploring their potential for story telling. To begin with, I generated a QR code and then extruded the resulting 2-dimensional image into a 3-dimensional form using CAD software. This was then given the shape inspired the creamware of Josiah Wedgwood. So the idea is that the owner can scan the Vinculum with a Smart phone barcode reader App, which then connects to a website page where stories can be told, thereby creating a simultaneous actual and virtual experience. In the setting of a museum or gallery the viewer can be re-directed to other related objects in the collection, enhancing and deepening their experience. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413831097800-YCG8F70M630JZ6N924AT/Amalthea.jpg 2011 - 2013 - Amalthea, 2011 Made by Additive Layer Manufacturing from nylon with a mineral soft coating Height 20 cm (7 7/8") Width 55 cm (21 5/8") Depth 24 cm (9 1/2") Purchased by The Art Fund for donation to The Leeds City Art Gallery, 2011 through Adrian Sassoon Amalthea is an attempt to combine an actual experience with a virtual one by enabling an object to connect to the Internet through mobile technology. Quick Response (QR) barcodes are similar to the barcodes we find on most products. They function as a link to factual information; I was interested exploring their potential for story telling. To begin with, I generated a type of QR code known as a ‘blotcode’ which was then extruded from a 2-dimensional image into a 3-dimensional form using CAD software. The cornucopia shape of Amalthea refers to the wealth of knowledge available on the World Wide Web whilst the cryptic symbols within the filigree refer to the consequences this may have on society. Objects often have stories attached to them. They can commemorate an event; they are often transformed into family heirlooms and passed on with the stories associated with them. Amalthea tells a story, but this story is online, so it has the potential to include text, video, image and music. It can be added to over time, creating a repository of memories and information. So when the viewer scans Amalthea with a barcode reader mobile phone App, it connects to a page on my website telling the story, providing additional information thereby creating a simultaneous actual and virtual experience. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413832999247-W8GMOQ9SHKCF5IM4JHUV/Spyridon-Reliquary.jpg 2011 - 2013 - Spyridon Reliquary, 2012 Made by Additive Layer Manufacturing from nylon with a mineral soft coating and a wooden throwing rib decorated in 24ct gold leaf Height 34cm (13 3/8") Diameter 18cm (7 1/8") Available through Adrian Sassoon A reliquary is a devotional object, usually containing a physical relic of a saint or an object associated with them. The form of this Reliquary was inspired by the collection of religious artefacts in the new Medieval & Renaissance Galleries of the V&A. I created the outer ‘skin’ of the object using Rhino 3D software. The complex structure was then produced using experimental software that generates a fractal growth. In other words the structure was literally grown, both at the design stage and in the 3D printing process. An algorithm formulated on the branching of plants and trees governs the fractal growth. I created this structure in order to allude to the mathematical system that determines how all living organisms grow as opposed to the creation myths that underpin much religious belief. The Reliquary contains a personal relic, one of my wooden ribs, a tool used for many years when I threw pots on the wheel. I have encased it in 24ct gold leaf to reflect the value of the tools and craft skills required to make objects. The name of the Reliquary refers to Saint Spyridon, the patron Saint of potters and the use of a rib is both a play on words and also offers viewers an opportunity to think about the relationship between traditional and digital tools and technology. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1416419477860-GSP1YBXUSRA2QNALQ6PB/The-Hand-02.jpg 2011 - 2013 - The Hand, 2013 Made by Additive Layer Manufacturing from nylon material with a mineral soft coating and details in gold leaf Height 32cm (12 5/8") Width 37cm (14 1/2") Depth 13cm (5 1/8") Available through Adrian Sassoon The Hand celebrates craft and is dedicated to those who make with skill. The fact that it was made using digital technology might appear contradictory, but through this piece I wish to emphasise that the use of these new tools requires the same levels of haptic skill and tacit knowledge that are required in traditional making. Hidden from view inside the piece is one of my metal modelling tools, used by me for many years. It was chosen both as a reference to the ulna, one of the bones often contained in arm reliquaries and in honour of the importance and value that makers give to their tools. Having made ceramics by hand for over 25 years, the attraction of digital technology is the ability to produce artworks that were previously impossible to make. For me this engagement with a new creative language is heavily reliant on my previous experience and embraces, rather than rejects traditional skills. It was created using 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. The coatings and gold leaf were then applied, followed by the assembly of the Hand. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413833458903-U170BINV9J1J0W3TEY9O/The-Hand-01.jpg 2011 - 2013 - The Hand, 2013 Made by Additive Layer Manufacturing from nylon material with a mineral soft coating and details in gold leaf Height 32cm (12 5/8") Width 37cm (14 1/2") Depth 13cm (5 1/8") Available through Adrian Sassoon The Hand celebrates craft and is dedicated to those who make with skill. The fact that it was made using digital technology might appear contradictory, but through this piece I wish to emphasise that the use of these new tools requires the same levels of haptic skill and tacit knowledge that are required in traditional making. Hidden from view inside the piece is one of my metal modelling tools, used by me for many years. It was chosen both as a reference to the ulna, one of the bones often contained in arm reliquaries and in honour of the importance and value that makers give to their tools. Having made ceramics by hand for over 25 years, the attraction of digital technology is the ability to produce artworks that were previously impossible to make. For me this engagement with a new creative language is heavily reliant on my previous experience and embraces, rather than rejects traditional skills. It was created using 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. The coatings and gold leaf were then applied, followed by the assembly of the Hand. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. http://www.michael-eden.com/new-gallery-1 daily 0.75 2025-04-14 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1484250120818-IBVGQH93ZE42WNNODIHY/Portals-01.jpg 2014 - 2016 - Portals Portals was commissioned by The National Museum of Scotland for the opening of the newly refurbished Art, Design and fashion galleries. Portal may refer to: ·A magical or technological doorway that connects two locations, dimensions, or points in time. ·Portal (architecture), a gate, door, or the extremities (ends) of a tunnel. Portals is my response to the above definitions, particularly in relation to the National Museum of Scotland, where entering the building has a transformative effect. The visitor becomes a time traveller, moving between the early days of the universe through the evolution of life on earth to the creation of cultures and complex societies. Portals also reflects 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. Inspired by C19th architectural models, Portals is a hybridisation of the museum’s architectural styles, demonstrating that life is change and that museums not only illuminate the past, but shine a light into the future. You can read more about the piece here on the National Museum of Scotland's website. Collection of the National Museum of Scotland, acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1484250120818-IBVGQH93ZE42WNNODIHY/Portals-01.jpg 2014 - 2016 - Portals Portals was commissioned by The National Museum of Scotland for the opening of the newly refurbished Art, Design and fashion galleries. Portal may refer to: ·A magical or technological doorway that connects two locations, dimensions, or points in time. ·Portal (architecture), a gate, door, or the extremities (ends) of a tunnel. Portals is my response to the above definitions, particularly in relation to the National Museum of Scotland, where entering the building has a transformative effect. The visitor becomes a time traveller, moving between the early days of the universe through the evolution of life on earth to the creation of cultures and complex societies. Portals also reflects 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. Inspired by C19th architectural models, Portals is a hybridisation of the museum’s architectural styles, demonstrating that life is change and that museums not only illuminate the past, but shine a light into the future. You can read more about the piece here on the National Museum of Scotland's website. Collection of the National Museum of Scotland, acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1484250154306-S0QL3K9E7KK6CMIF6KZS/Portals-02.jpg 2014 - 2016 - Portals Portals was commissioned by The National Museum of Scotland for the opening of the newly refurbished Art, Design and Fashion galleries. Portal may refer to: ·A magical or technological doorway that connects two locations, dimensions, or points in time. ·Portal (architecture), a gate, door, or the extremities (ends) of a tunnel. Portals is my response to the above definitions, particularly in relation to the National Museum of Scotland, where entering the building has a transformative effect. The visitor becomes a time traveller, moving between the early days of the universe through the evolution of life on earth to the creation of cultures and complex societies. Portals also reflects 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. Inspired by C19th architectural models, Portals is a hybridisation of the museum’s architectural styles, demonstrating that life is change and that museums not only illuminate the past, but shine a light into the future. You can read more about the piece here on the National Museum of Scotland's website. Collection of the National Museum of Scotland, acquired through Adrian Sassoon, London Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1484248691307-NX4YMQ83TKU51OXHA00L/Innovo+02.jpg 2014 - 2016 - The Innovo Vase 2016 I was approached by Los Angeles County Museum of Art to see whether I was interested in interpreting The Stowe Vase, a Roman marble vase that the museum has in its collection. As an artist, being presented with a new project is always an exciting challenge. It is an opportunity explore unfamiliar territory and engage with new ideas. And this was certainly an opportunity that I was very happy to engage with. The Stowe Vase: From Ancient Art to Additive Manufacturing May 29th - September 5th 2016 Collection of Los Angeles County Museum of Art, acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1484294431496-WXI4KRWGYTK3XB5B6X50/Innovo-Vase-%2B-shadow.jpg 2014 - 2016 - The Innovo Vase, 2016 (detail) I particularly like this photograph, as it shows the relationship between 2D and 3D. As the marble vase is so complex, I based my interpretation on the etchings of Giovanni Piranesi, who was responsible for the restoration of the Stowe Vase after it was excavated from Hadrian's Villa in Tivoli near Rome. The Stowe Vase: From Ancient Art to Additive Manufacturing May 29th - September 5th 2016 Collection of Los Angeles County Museum of Art, acquired through Adrian Sassoon, London Installation photo of Michael Eden's Innovo Vase, 2016, Los Angeles County Museum of Art, Gift of Viveca Paulin-Ferrell and Will Ferrell, Alice and Nahum Lainer, Shannon and Peter Loughrey, and Heidi Wettenhall and Said Saffari through the 2016 Decorative Arts and Design Acquisitions Committee (DA²) (M.2016.205), © Michael Eden, photo © Museum Associates/ LACMA https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1484313724273-HZ8AXSK8ETOSWIDYSILM/Elements-01.jpg 2014 - 2016 - Elements, 2016 Elements is my response to the diverse and wide-ranging collections in the National Museum of Scotland, particularly focusing on Homo Faber, Man the Maker. Since the earliest times humankind has created tools as a means of doing things that hands alone cannot achieve, resulting in materials and processes that have shaped the world around us. I have used an architectural detail from the newly refurbished galleries as a way of bringing together arts, science and technology. Elements is comprised of 2 groups of elements from the periodic table, the first being Carbon (C), Hydrogen (H), Oxygen (O) and Nitrogen (N), together being the basis of life on earth. This group also contains F, the symbol for phi or the Golden Section, the mathematical equation that governs growth and form in nature. The second group is made up of Iron (Fe), Carbon (C), Silicon (Si), Magnesium (Mg) and Calcium (Ca), the elements that are brought together in the making of cast iron and steel, from which the galleries are largely constructed. My aim has been to demonstrate the ingenuity of the human species in the development of materials, processes and tools which combined with an innate sense of design has created the array of marvellous objects that can be seen in this museum. Private Collection, acquired through Adrian Sassoon, London Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1484313817382-H0GG88W9F7O40XKENX75/Elements-02.jpg 2014 - 2016 - Elements, 2016 Elements is my response to the diverse and wide-ranging collections in the National Museum of Scotland, particularly focusing on Homo Faber, Man the Maker. Since the earliest times humankind has created tools as a means of doing things that hands alone cannot achieve, resulting in materials and processes that have shaped the world around us. I have used an architectural detail from the newly refurbished galleries as a way of bringing together arts, science and technology. Elements is comprised of 2 groups of elements from the periodic table, the first being Carbon (C), Hydrogen (H), Oxygen (O) and Nitrogen (N), together being the basis of life on earth. This group also contains F, the symbol for phi or the Golden Section, the mathematical equation that governs growth and form in nature. The second group is made up of Iron (Fe), Carbon (C), Silicon (Si), Magnesium (Mg) and Calcium (Ca), the elements that are brought together in the making of cast iron and steel, from which the galleries are largely constructed. My aim has been to demonstrate the ingenuity of the human species in the development of materials, processes and tools which combined with an innate sense of design has created the array of marvellous objects that can be seen in this museum. Private collection, acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1458321206288-K7DWBXW7MJ6QP083N48Y/Aphrodite.jpg 2014 - 2016 - Aphrodite, 2016 Unique object made by Additive Layer Manufacturing from nylon, encased in patinated copper. Height 40cm (15 3/4") Width 34cm (13 3/8") Depth 21.5cm (8 1/2") Available through Adrian Sassoon. The inspiration for the Aphrodite vessel is centred on celebration and creativity. The form is taken from a type of Greek pottery, known as a kantharos, typically a deep bowl on a pedestal foot with over-sized handles, flaring high up the lip of the pot. They were associated with Dionysus, the god of wine and fertility and often used for ritual drinking or offerings. I was also attracted the lively, graphic illustration which reminded me of some of the work of Roy Lichtenstein and the way he often illustrated a scene from an unfolding drama. Aphrodite was chosen to create the structure of the vessel, as she is the Greek goddess of love, beauty and procreation. Some sources believe that the Three Graces were the offspring of Dionysus and Aphrodite. I based my version of Aphrodite on a marble bust, known as the Bartlett Head now in the San Antonio Museum of Art. It was given a Lichtenstein makeover in Photoshop and then translated from a 2D image to 3D in Rhino 3D CAD software. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1458322305825-DH8JAQOQYMSGBBON3Y5E/Aphrodite-detail.png 2014 - 2016 - Aphrodite, 2016 (detail of Aphrodite's face) Unique object made by Additive Layer Manufacturing from nylon, encased in patinated copper Height 40cm (15 3/4") Width 34cm (13 3/8") Depth 21.5cm (8 1/2") Available from Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1458321193803-T3CR1FCNJ0H1493DJ1K4/Voxel-vessel-X.jpg 2014 - 2016 - Voxel Vessel X 2016 Unique object made by Additive Layer Manufacturing from nylon material with a white soft mineral coating and palladium leaf interior Height 47cm (18 1/2") Width 39cm (15 3/8") Depth 31cm (12 1/4") Private Collection, The Hague. Acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1448274317527-AK9D3X6FOI14ZITTMA4L/soho.jpg 2014 - 2016 - Soho Unique object made by Additive Layer Manufacturing from a high quality nylon material with a white soft mineral coating Height 58cm (22 3/4") Width 36cm (14 1/8") Depth 35cm (13 3/4") This work is exhibited in: Michael Eden - History Re-Printed The Holburne Museum, Bath November 21st 2015 - March 28th 2016 Available through Adrian Sassoon, London The title of this piece refers to both Soho House and the Soho Manufactory, both located in Handsworth, Birmingham. Soho House was the elegant home of industrial pioneer Matthew Boulton, who lived there from 1766 to 1809. He was very keen on new inventions and the house is probably the first in England to have a central heating system installed since Roman times. In addition, he had a vast steam heated bath installed and indoor flushing toilets. Within the House there are displays of silver, coins and ormolu produced in the Soho Manufactory, which was one of the world’s first factories. Soho House was a regular venue for the meeting for the leading eighteenth century intellectuals of the Lunar Society, a group of free thinking scientists and industrialists including Joseph Priestley, Erasmus Darwin, Josiah Wedgwood, James Watt, and William Withering. The Dining Room at Soho House is also known as the Lunar Room and it is where the Lunar Society met. The meetings held here were lively affairs, where all the latest ideas and inventions were discussed and scientific experiments carried out. Their meetings took place at the time of the full moon, which enabled members to proceed home by its light. The Soho Vase encapsulates the activities of the Lunar Society by making reference to the activities of the group, which not only revolved around manufacturing, but included exploration of the natural world and humanitarian concerns such as slavery, with members actively campaigning for its abolition. I have used various motifs to symbolize their activities, such as hammers and nuts and bolts for manufacturing and foxglove flowers that were used in the distillation of digoxin, stillutilized in the treatment of some heart conditions. The Lunar Society made an enormous impact on life towards the end of the 18th century, largely due to their wide ranging interests that treated the arts, humanities and sciences as compatible equals, a view that we would do well to return to. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1448273981119-K0N2DAYYHE78JNTHY3TA/soho-detail.jpg 2014 - 2016 - Soho - detail Unique object made by Additive Layer Manufacturing from a high quality nylon material with a white soft mineral coating Height 58cm (22 3/4") Width 36cm (14 1/8") Depth 35cm (13 3/4") This work is exhibited in: Michael Eden - History Re-Printed The Holburne Museum, Bath November 21st 2015 - March 27th 2016 Available through Adrian Sassoon, London The title of this piece refers to both Soho House and the Soho Manufactory, both located in Handsworth, Birmingham. Soho House was the elegant home of industrial pioneer Matthew Boulton, who lived there from 1766 to 1809. He was very keen on new inventions and the house is probably the first in England to have a central heating system installed since Roman times. In addition, he had a vast steam heated bath installed and indoor flushing toilets. Within the House there are displays of silver, coins and ormolu produced in the Soho Manufactory, which was one of the world’s first factories. Soho House was a regular venue for the meeting for the leading eighteenth century intellectuals of the Lunar Society, a group of free thinking scientists and industrialists including Joseph Priestley, Erasmus Darwin, Josiah Wedgwood, James Watt, and William Withering. The Dining Room at Soho House is also known as the Lunar Room and it is where the Lunar Society met. The meetings held here were lively affairs, where all the latest ideas and inventions were discussed and scientific experiments carried out. Their meetings took place at the time of the full moon, which enabled members to proceed home by its light. The Soho Vase encapsulates the activities of the Lunar Society by making reference to the activities of the group, which not only revolved around manufacturing, but included exploration of the natural world and humanitarian concerns such as slavery, with members actively campaigning for its abolition. I have used various motifs to symbolize their activities, such as hammers and nuts and bolts for manufacturing and foxglove flowers that were used in the distillation of digoxin, stillutilized in the treatment of some heart conditions. The Lunar Society made an enormous impact on life towards the end of the 18th century, largely due to their wide ranging interests that treated the arts, humanities and sciences as compatible equals, a view that we would do well to return to. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1448274830459-VA8RNWGYWEZMGR444E8F/nautilus.jpg 2014 - 2016 - Nautilus Unique object made by Additive Layer Manufacturing from a high quality nylon material encased in patinated copper Height 23.5cm (9 1/4") Width 34.5cm (13 5/8") Depth 26.5cm (10 3/8") This work is exhibited in: Michael Eden - History Re-Printed The Holburne Museum, Bath November 21st 2015 - March 27th 2016 Private Collection, UK. Acquired through Adrian Sassoon, London. At some stage during the history of mankind it was noticed that objects that are pleasing to the eye conform to certain mathematical proportions. The growth and formation of plants and animals are governed by these principles and when applied to manufactured objects they are usually aesthetically agreeable. These mathematical principles have become known as the Golden Section and have been used to create basic geometries in architecture, the Parthenon being a well known example and in Fine Art, where landscape and portrait painting often conform by the careful placing of key elements. Named after the Italian mathematician Fibonacci, there is a sequence of numbers that all conform the same principle: 0, 1, 1, 2, 3, 5, 8, 13, 25, 34, 89, 144 etc. If a number in the sequence is divided by the preceding number, the answer comes to 1.62. This sequence can be used to produce a construction known as the Golden Spiral, seen in nature in pine cones, sunflowers, cauliflower florets etc. It is also thought to be seen in the Nautilus shell, though in actual fact, it doesn’t quite conform. The Nautilus that I created is made up of the numbers in the Fibonacci sequence, arranged in order from the centre. I designed an aesthetically pleasing form that emphasises the relationship between the arts and sciences, brought together through mathematics. The tools I used to make the piece are in themselves a result of the application of mathematics, physics, and material knowledge, borne from a creative urge to find new ways to make complex objects that cannot be achieved by any other method. Nautilus was designed using Rhino 3D CAD software, then 3D printed in nylon, after which it was metaised in copper and given a patinated surface treatment. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1449142953799-JJTU4KU6W2XQ5IR2K3M5/perspectiva.jpg 2014 - 2016 - Perspectiva, 2015 Unique object made by Additive Layer Manufacturing from a high quality nylon material encased in patinated copper Height 39cm (15 3/8") Width 25cm (9 7/8") Depth 19cm (7 1/2") This work is currently exhibited in: Michael Eden - History Re-Printed The Holburne Museum, Bath November 21st 2015 - March 27th 2016 Available through Adrian Sassoon, London The title of this piece comes from the Perspectiva Corporum Regularium or Perspective of the Regular Solids by Wenzel Jamnitzer, a 16th century Austrian goldsmith, designer, etcher and inventor of scientific instruments. It describes the basic 5 regular platonic solids that were thought to be the building blocks of all matter. "Jamnitzer created an extraordinary collection of both regular and semi-regular bodies in his Perspective of Regular Solids (1568) which, as he explained in his title, was based on Plato's Timaeus and Euclid's Elements. Accordingly, he associated the tetrahedron with fire, octahedron with air, hexahedron with earth, icosahedron with water and dodecahedron with heaven respectively. Using a "particular new adroit method never before in use" he provided six regular, six truncated, six stellated and six double stellated variants for each of the regular solids to create a total of 120 versions which, as he pointed out in his long title, was but an 'introduction how, out of these five bodies, many other bodies of various kinds and shapes may be made and found without end'."[1] I used one of these pieces as the starting point for the Perspectiva , created to explore how mankind’s desire to explore the natural world through science and mathematics is often poetically and artistically expressed. The structure of my piece is made up of chemical symbols for various elements, including clay, a material that has been employed throughout the past 40,000 years and documents the way in which craft and material knowledge are used to express changing human values. [1]Jamnitzer perspectiva (online). Available at http://bibliodyssey.blogspot.co.uk/2009/08/jamnitzer-perspectiva.html (Accessed 12.09.2015) Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1448272694335-4Y28GZ1OF6SNIFDEZAP2/watt.jpg 2014 - 2016 - The Watt Vase Unique object made by Additive Layer Manufacturing from a high quality nylon material encased in patinated copper Height 45.5cm (17 7/8") Diameter 30cm (11 3/4") This work was exhibited in: Michael Eden - History Re-Printed The Holburne Museum, Bath November 21st 2015 - March 27th 2016 Available through Adrian Sassoon James Watt’s name is associated with the steam engine, which became the chief power source of the Industrial Revolution after he made improvements to the less efficient Newcomen steam engine. He was a member of the Lunar Society, a group of free thinking scientists and industrialists including Joseph Priestley, Erasmus Darwin, Josiah Wedgwood and William Withering that met together during the late 18th and early 19th centuries. The meetings were lively affairs, where all the latest ideas and inventions were discussed and scientific experiments carried out. The Lunar Society made an enormous impact, largely due to their wide ranging interests that treated the arts, humanities and sciences as compatible equals. After running a success business with Matthew Boulton, he spent his retirement experimenting with new methods of reproducing classical sculptures. In his Heathfield house workshop, Watt created 2 copying machines, “one to make reduced-size copies of an original, while the second was intended to make equal-size copies, a much more difficult technical proposition.”[1] Whilst on a recent visit to the Science Museum in London, I saw a display of Watt’s workbench alongside which were a group of busts also found in his Heathfield workshop. One piece stood out, a bust of the man himself. However, this one was produced by 3D printing as the “original mould was too fragile to allow a plaster cast to be taken.So it was examined with a colour triangulation scanner to produce a perfect digital 'cast', enabling a sculpture to be created.”[2] It made me wonder how James Watt would have employed the the new technologies that we now have as makers, artists and designers. So the James Watt vase was created to bring these two worlds together, using classical references, a portrait of James Watt, 3D printing and a bespoke metalising process. [1] Russell, B. (2014) James Watt, Making the World Anew. Reaktion Books, 2014. P.206 [2]Scientists create sculpture of Industrial Revolution engineer James Watt using 3D technology, 2011. (Online) Available at: http://www.dailymail.co.uk/sciencetech/article-1359057/James-Watt-Scientists-create-sculpture-Industrial-Revolution-engineer-using-3D-technology.html (Accessed 12.09.15) Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1448273274952-1LRJ8FQG06DMQ5WNFKI4/watt-detail.jpg 2014 - 2016 - The Watt Vase - detail Unique object made by Additive Layer Manufacturing from a high quality nylon material encased in patinated copper Height 45.5cm (17 7/8") Diameter 30cm (11 3/4") This work was exhibited in: Michael Eden - History Re-Printed The Holburne Museum, Bath November 21st 2015 - March 28th 2016 Available through Adrian Sassoon James Watt’s name is associated with the steam engine, which became the chief power source of the Industrial Revolution after he made improvements to the less efficient Newcomen steam engine. He was a member of the Lunar Society, a group of free thinking scientists and industrialists including Joseph Priestley, Erasmus Darwin, Josiah Wedgwood and William Withering that met together during the late 18th and early 19th centuries. The meetings were lively affairs, where all the latest ideas and inventions were discussed and scientific experiments carried out. The Lunar Society made an enormous impact, largely due to their wide ranging interests that treated the arts, humanities and sciences as compatible equals. After running a success business with Matthew Boulton, he spent his retirement experimenting with new methods of reproducing classical sculptures. In his Heathfield house workshop, Watt created 2 copying machines, “one to make reduced-size copies of an original, while the second was intended to make equal-size copies, a much more difficult technical proposition.”[1] Whilst on a recent visit to the Science Museum in London, I saw a display of Watt’s workbench alongside which were a group of busts also found in his Heathfield workshop. One piece stood out, a bust of the man himself. However, this one was produced by 3D printing as the “original mould was too fragile to allow a plaster cast to be taken.So it was examined with a colour triangulation scanner to produce a perfect digital 'cast', enabling a sculpture to be created.”[2] It made me wonder how James Watt would have employed the the new technologies that we now have as makers, artists and designers. So the James Watt vase was created to bring these two worlds together, using classical references, a portrait of James Watt, 3D printing and a bespoke metalising process. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. [1] Russell, B. (2014) James Watt, Making the World Anew. Reaktion Books, 2014. P.206 [2]Scientists create sculpture of Industrial Revolution engineer James Watt using 3D technology, 2011. (Online) Available at: http://www.dailymail.co.uk/sciencetech/article-1359057/James-Watt-Scientists-create-sculpture-Industrial-Revolution-engineer-using-3D-technology.html (Accessed 12.09.15) https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1448273442070-1FTQHOA7RIMD2L56N65X/walpole.jpg 2014 - 2016 - The Walpole Dish Unique object made by Additive Layer Manufacturing from a high quality nylon material with a soft mineral coating and gold leaf details Height 35cm (13 3/4") Diameter 36.5cm (14 3/8") This work was exhibited in: Michael Eden - History Re-Printed The Holburne Museum, Bath November 21st 2015 - March 27th 2016 Available through Adrian Sassoon, London "All the Geniuses of the Age are Employed in Designing New Plans for Dessert" Horace Walpole 1750 This quotation was spotted amongst a display of fine silver and ceramic serving dishes and dinnerware in the Holburne Museum in Bath. It was written in a period of enormous change in Britain. The Industrial Revolution was underway with technological advances fuelling new production techniques; society was in transition with labourers moving from the countryside to the new manufacturing centres. A new middle class was emerging with an appetite for the fashionable products of the period. Horace Walpole is making an observation that implies that many of his contemporaries are wasting their talent on trivia and that the demand for elaborate excess has diverted them from far more fundamental and important work that would provide a greater benefit to society in general. The quotation appealed to me because it could describe our present situation in relation to the new Industrial Revolution of digital manufacturing. As with any exciting advance, there is a great deal of interest, but it has resulted in the production of diverse products that would be far more efficiently manufactured using appropriate and proven technologies. Having said that, experimentation with the new is to be welcomed, as it tests the technology and challenges the developers. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1447770912355-F8NNP782OTZNK3JUKTGM/full-bloom.jpg 2014 - 2016 - Full Bloom No. 1 in an edition of 18 in various colours Height 34.5cm (13 5/8") Diameter 18.5cm (7 1/4") Available through Adrian Sassoon, London The Bloom series was created to explore the potential of Additive Manufacturing in a lyrical way. Bloom is simply a play on words: Bloom as in the flowering of a plant, referring to the growth of interest and use of AM for creative purposes and Boom, as in an explosion, referring to the effect that AM is having on traditional ways of designing and making objects. Like the Wedgwoodn’t Tureen the form is based on an early 19th century style of Wedgwood tureens. The Full Bloom is a development of the original Bloom edition, using a more flower-like extrusion, arranging in an overlapping pattern, creating a dynamic and elegant structure. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1449143562884-NC6ZH2E8C40785GRTR2A/new-blooms.jpg 2014 - 2016 - Curved Blooms, 2015 Made by Additive Layer Manufacturing from a high quality nylon material with soft mineral coatings Nos. 1 and 2 in an edition of 18 in various colours Height 38cm (15") Width 29.5cm (11 5/8") Depth 18.5cm (7 1/4") This works were exhibited in: Michael Eden - History Re-Printed The Holburne Museum, Bath November 21st 2015 - March 27th 2016 Available through Adrian Sassoon, London Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1426776078134-PAURXT5X2ISHJVU71NEU/Flaubert.jpg 2014 - 2016 - Flaubert, 2015 “In order for a thing to become interesting, one has only to look at it for a long time” Gustave Flaubert Some while ago, I recorded this quotation in the front of my sketchbook and it has remained resonant for me. It seems to sum up how I feel about the influence of the Internet on our imagination. Those of us connected to the World Wide Web have unparalleled access to vast amounts of information and imagery. We are constantly bombarded through Instagram and other forms of social media and though we can turn it off, it does become a way of life for large numbers of people. There are undoubted positive benefits, we gain an insight in to the lives of others, and we can converse with friends, family and acquaintances almost instantly. But the relentless stream of stimuli denies us the time to absorb and reflect. Perhaps this is why there is such a revival of interest in making things. It takes time, concentration and effort - craftsmanship, in other words, which according to Richard Bennett is ‘an enduring, basic human impulse, the desire to do something well for its own sake’. The making of the Flaubert piece, however might be seen as antithetical, as I use computer based 3D CAD software and highly technical Additive Layer Manufacturing [commonly known as 3D printing] to produce the artworks. However, I spent over 20 years making pots by hand, gaining the skills, knowledge and understanding of the 3-dimensional form in the process. Some of this has been adapted and transferred to the new tools that I now employ, alongside developing new craft skills. So the Flaubert piece is a vehicle for exploring these themes, whilst creating an aesthetically pleasing object that will engage the viewer for a long time. The piece was created by converting the text of the quotation from a 2-dimensional image to 3-dimensional text that was then arranged to form the vessel. Once I was satisfied with the design on screen, the data was sent to a bureau specialising in Additive Manufacturing and the piece was manufactured using the latest Selective Laser Sintering technology. It was then encapsulated in copper using a specialised electroplating technique. I then created the verdigris patina. The use of these new tools allows me create objects that were previously impossible to manufacture and enables me to inhabit an exciting grey area somewhere between craft, design and art. Unique object made by Additive Layer manufacturing from nylon, encased in patinated copper Height 45cm (17 3/4") Diameter 28cm (11") This was made especially for TEFAF 2015 and was sold at the Art Fair through Adrian Sassoon, London. Private Collection, Berlin, 2015. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1425146534583-EYC4WFPMY2QAMUXUA7XE/Flaubert-detail.jpg 2014 - 2016 - Flaubert, 2015 Made by Additive Layer Manufacturing in nylon, encapsulated in copper with patina verdigris. Shown at TEFAF Maastricht, the world's leading art fair from March 13th to 22nd. Constructed from a quotation by Gustave Flaubert: "In order for a thing to become interesting, one has only to look at it for a long time." Acquired through Adrian Sassoon. Private Collection, Berlin 2015. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1425112217242-8QGAQC7JCPOWY1NKJ7JT/Imari-pair.jpg 2014 - 2016 - Imari - twisted pair, 2015 Unique pair made by Additive Layer Manufacturing from nylon with a mineral soft coating. Height 32cm (13 3/4") Width 18.5cm (7 3/8") Depth 16cm (6 3/8") A commission through Adrian Sassoon, London. Private collection, New York, USA. Imari is the European name for Japanese porcelain wares made in the town of Arita and exported from the port of Imari in Western Japan between the second half of the 17th century and the first half of the 18th century. Typical Imari is decorated with cobalt blue underglaze with red and gold onglaze. Made only for export to the West, it was often imitated by Chinese and European potters. The example I used as a starting point for my Imari pieces is an early 19th century Davenport cup and saucer, which appealed to me both as an attractive object and as an example of the way in which fashion, styles, materials and processes have travelled the world. My pieces are an attempt to extend the journey of the Imari story, in this case by converting the 2-dimensional surface pattern into a 3-dimensional object, using contemporary digital technology. Images of the Imari pattern were simplified to line drawings in Photoshop, and then imported into the CAD software that I use to create these pieces. The line drawing was then reproduced and joined together to make a repeating pattern. This was then ‘projected’ onto the surface of the tureen form that I had previously created. The drawings were then extruded through the surface of the tureen and used to cut through the solid surface, leaving a pierced form. Once the piece was scaled and carefully inspected it could finally be 3D printed and given a decorative surface treatment. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411990064166-YFQLAXRLCGW5GFJWBDEM/Imari.jpg 2014 - 2016 - Imari I, 2014 Unique object made by Additive Layer Manufacturing from nylon with a mineral soft coating Height 30cm (11 3/4") Width 24cm (9 1/2") Depth 22cm (8 5/8") Acquired by the Mint Museum, Charlotte, North Carolina, USA, through Adrian Sassoon, London. Imari is the European name for Japanese porcelain wares made in the town of Arita and exported from the port of Imari in Western Japan between the second half of the 17th century and the first half of the 18th century. Typical Imari is decorated with cobalt blue underglaze with red and gold onglaze. Made only for export to the West, it was often imitated by Chinese and European potters. The example I used as a starting point for my Imari pieces is an early 19th century Davenport cup and saucer, which appealed to me both as an attractive object and as an example of the way in which fashion, styles, materials and processes have travelled the world. My pieces are an attempt to extend the journey of the Imari story, in this case by converting the 2-dimensional surface pattern into a 3-dimensional object, using contemporary digital technology. Images of the Imari pattern were simplified to line drawings in Photoshop, and then imported into the CAD software that I use to create these pieces. The line drawing was then reproduced and joined together to make a repeating pattern. This was then ‘projected’ onto the surface of the tureen form that I had previously created. The drawings were then extruded through the surface of the tureen and used to cut through the solid surface, leaving a pierced form. Once the piece was scaled and carefully inspected it could finally be 3D printed and given a decorative surface treatment. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411990134200-1VWKQX1J3CWKVJ1VG55U/Imari-II.jpg 2014 - 2016 - Imari II, 2014 Unique object made by Additive Layer Manufacturing from nylon with a mineral soft coating Height 20cm (7 7/8") Width 12cm (4 3/4") Depth 11cm (4 1/4") Private Collection, London, 2014, through Adrian Sassoon Imari is the European name for Japanese porcelain wares made in the town of Arita and exported from the port of Imari in Western Japan between the second half of the 17th century and the first half of the 18th century. Typical Imari is decorated with cobalt blue underglaze with red and gold onglaze. Made only for export to the West, it was often imitated by Chinese and European potters. The example I used as a starting point for my Imari pieces is an early 19th century Davenport cup and saucer, which appealed to me both as an attractive object and as an example of the way in which fashion, styles, materials and processes have travelled the world. My pieces are an attempt to extend the journey of the Imari story, in this case by converting the 2-dimensional surface pattern into a 3-dimensional object, using contemporary digital technology. Images of the Imari pattern were simplified to line drawings in Photoshop, and then imported into the CAD software that I use to create these pieces. The line drawing was then reproduced and joined together to make a repeating pattern. This was then ‘projected’ onto the surface of the tureen form that I had previously created. The drawings were then extruded through the surface of the tureen and used to cut through the solid surface, leaving a pierced form. Once the piece was scaled and carefully inspected it could finally be 3D printed and given a decorative surface treatment. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1416418865145-DYPFC413BR2Z0O4PIBIW/Imari-Twisted.jpg 2014 - 2016 - Imari III, 2014 Unique object made by Additive Layer Manufacturing from a high quality nylon material with a soft mineral coating Height 25cm (9 7/8") Diameter 21cm (8 1/4") Acquired by the Mint Museum, Charlotte, North Carolina, USA, through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1427218657854-967OGTUHZR3NR9RQHMYV/GSOH.jpg 2014 - 2016 - GSOH, 2014 Unique object made by Additive Layer Manufacturing from nylon material with a dark blue soft mineral coating Height 40cm (15 3/4") Diameter 22cm (8 5/8”) In the 19th century there was a short-lived fashion for composite ceramic pieces. Typical of these were the ‘Smoker’s Companion’, an assemblage of individual functional objects designed to fit together into a tall, imposing tower. Whilst visiting the Shipley Art Gallery at Gateshead in the northeast of England, I spotted another variation on the theme - a Bachelor’s Supper Set. It was made in 1867 for John McGowan in Gateshead and comprises a candlestick, goblet, plate, bowl and serving dish. I began to imagine the life of John McGowan, dining quietly by himself and wondering if he remained a bachelor all his life. How did a bachelor like John meet a prospective partner? Through work and family connections, I imagine. How different to our present era with Internet dating and smartphone Apps like Tinder? So my interpretation is a 21st century comment, constructed of words taken from the Guardian newspaper’s Soul Mates column, where individuals advertise and search for potential partners, using acronyms to list their personality or the attributes they are looking for. So GSOH means Good Sense Of Humour, WLTM means Would Like To Meet and so on and so forth. If John McGowan was here now, would he need a Bachelor’s Supper Set? Once I was satisfied with the design on screen, the data was sent to a bureau specialising in Additive Manufacturing and the piece was manufactured using the latest Selective Laser Sintering technology. It was then hand finished. The use of these new tools allows me create objects that were previously impossible to manufacture and enables me to inhabit an exciting grey area somewhere between craft, design and art. Acquired by Manchester Metropolitan University Collection through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411986105937-GEFM5TA9RNQPA1MTM4RU/Voxel-vessel-I.jpg 2014 - 2016 - Voxel Vessel I, 2013 Made by Additive Layer Manufacturing from a high quality nylon with a mineral soft coating and details in 24ct gold leaf Height 35cm (13 3/4") Width 32cm (12 1/2") Depth 25cm (9 7/8") Collection of the Museum of Arts and Design, New York, USA, 2013, through Adrian Sassoon voxel (ˈvɒksəl) A voxel represents a single sample, or data point, on a regularly spaced, three-dimensional grid. The Voxel vessel explores the relationship between the actual world of real objects and the virtual world of digital technology. The staring point for the Voxel Vessel was the virtual tour of the Château de Fontainebleau via the Google Art Project. It allows the viewer to float through galleries and museums, and zoom in on anything that catches our fancy. Why join the queues when you can stroll through the empty galleries from the comfort of your armchair? It is an extraordinary technical achievement, a very useful tool, but it’s not the real thing, you can’t smell the oil paint and you can’t quite walk all the way round the sculptures. It is a 2D representation of the real world. The voxel cube structure was ‘wrapped’ around a typical vase of the period, and represents the loss of sensory experience when accessing the real world through a screen. The gold interior is a reference to the beauty of the original ceramic objects and in honour of the craftsmanship in their manufacture. The creation of the Voxel Vessel was made using CAD 3D software over many hours and 3D printed using the latest Selective Laser Sintering technology. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413834029412-ZXR77FOJMYDHAZ166VA2/Voxel-vessel-II.jpg 2014 - 2016 - Voxel Vessel II, 2013 Made by Additive Layer Manufacturing from nylon with a mineral soft coating and 24ct gold leaf interior surface Height 30cm (11 3/4") Width 27.5cm (10 7/8") Depth 16cm (6 1/4") Private Collection, USA, 2013, through Adrian Sassoon Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413834154051-N6DU1R7T5BCTAKCZR2IE/Voxel-vessel-III.jpg 2014 - 2016 - Voxel Vessel III, 2013 Made by Additive Layer Manufacturing from nylon with a mineral soft coating and 24ct gold leaf interior surface Height 30cm (11 3/4") Width 24cm (9 1/2") Depth 22cm (8 5/8") Private Collection, London, 2014, through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1413834239284-IGUQ2HB9YR772JQFDZH3/Voxel-vessel-V.jpg 2014 - 2016 - Voxel Vessel V, 2013 Made by Additive Layer Manufacturing from nylon with a mineral soft coating and coloured silver leaf interior. Height 23cm (9") Width 18cm (7 1/8") Depth 14.5cm (5 3/4") Purchased by The National Museum of Norway, Oslo, 2014, through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1411986493781-0F7K7U80OBR2TGES09VK/Voxel-Moscow.jpg 2014 - 2016 - Voxel Vessel VI, 2014 Made by Additive Layer Manufacturing from nylon with a mineral soft coating and silver leaf interior surface Height 30cm (11 3/4") Width 24cm (9 1/2") Depth 22cm (8 5/8") Exhibited in ‘British Design: from William Morris to the Digital Revolution’ at the Pushkin Museum, Moscow. Available through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092271611-QCX1CR2R5H879WDQQJFI/Moir%C3%A9-Vase.jpg 2014 - 2016 - Moiré Vase, 2014 Made by Additive Layer Manufacturing from nylon with a mineral soft coating Height 30cm (11 3/4") Width 32cm (12 5/8") Depth 19cm (7 1/2") Available through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092374883-8IBQQABIQU08ZXBBYIBF/Moir%C3%A9-Vase+II.jpg 2014 - 2016 - Moiré Vase II, 2014 Made by Additive Layer Manufacturing from nylon with a mineral soft coating Height 23cm (9") Width 25cm (9 7/8") Depth 20cm (7 7/8") Available through Adrian Sassoon. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1502092445605-TI8KTST6OPXGHEASAHM1/Metamorphosis.jpg 2014 - 2016 - Metamorphosis, 2014 Metamorphosis is a tureen loosely based on Staffordshire Creamware of the 18th and early 19th centuries. This purely decorative piece was created to explore how the skills of the potter could be translated to the 21st century maker, but in a way that is unique to the new tools that I choose to use. Having made ceramics by hand for over 25 years, the attraction of digital technology is the ability to produce artworks that were previously impossible to make. For me this engagement with a new creative language is heavily reliant on my previous experience and embraces, rather than rejects traditional skills. It was created using 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. The coatings, based on the colour palette developed by Josiah Wedgwood were then applied. Made by Additive Layer Manufacturing from a high quality nylon material with mineral soft coating Height 35cm (13 3/4") Width 32cm (12 5/8") Depth 25.5cm (10") Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. http://www.michael-eden.com/savile-row daily 0.75 2015-11-06 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1427399143259-6OALUQWE05DTTZAAKRRU/Savile-Row-EPR.jpg Savile Row - 24 Savile Row Craft is the central focus of a large scale collaborative project that I have recently been involved in. EPR Architects have designed a new building for the corner of Savile Row and Conduit Street in central London and in keeping with its location within the heart of British bespoke tailoring, it was decided to use the ‘finest of craft materials’ to embed the building within the surrounding culture. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1427399143259-6OALUQWE05DTTZAAKRRU/Savile-Row-EPR.jpg Savile Row - 24 Savile Row Craft is the central focus of a large scale collaborative project that I have recently been involved in. EPR Architects have designed a new building for the corner of Savile Row and Conduit Street in central London and in keeping with its location within the heart of British bespoke tailoring, it was decided to use the ‘finest of craft materials’ to embed the building within the surrounding culture. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446808052352-J9JSALFLUJ73BD5XEMMD/Savile-Row-black-tile.jpg Savile Row - 24 Savile Row Stephen Pey, the principal architect brought in potter Kate Malone at an early stage of the project in order to develop plans for a hand-glazed tile facade for the whole building. Once Kate had sourced suitable ceramic tiles, the lengthy and extensive development to formulate compatible crystalline glazes began, involving the testing of thousands of variants. Once this demanding process was complete, the onerous task of glazing all 11,000 tiles began. This was undertaken by Rich Miller of Froyle Pottery in Surrey, whose team had to apply an exact amount of glaze to each tile to prevent the glassy liquid pouring off the sides during the 5 day firing cycle. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446808178055-7P9RU6OYTPDOPN747CPH/Savile-Row-Kate%27s-drawing.jpg Savile Row - Savile Row Kate and Stephen decided at an early stage that the tiles would be vulnerable to damage at pavement level, so a panel or plinth of some sort would be required between pavementlevel and about 1 metre above the ground where the tiles start. At this stage Kate invited me in to the discussions. Various materials were considered including Cumbrian slate, but after visiting various metal fabricators, finishers and foundries, bronze was chosen. It was important to create a strong visual link between the 2 contrasting materials, so we began to explore the creation of a relief landscape derived from close up imagery of the glaze crystals, supplied by Kate. In addition, Kate provided me with a series of drawings depicting the main crystal types. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446808304451-GO9VA8Q8JGX1Y7CSZMPK/Savile-Row-rhino-01.jpg Savile Row - Savile Row I then reproduced these archetypes in Rhino 3D CAD software as low relief, individual objects, from which I could then begin to create a raised and impressed landscape. There then followed a lengthy exchange, bouncing the designs back and forth until Kate was happy with the final iteration. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446808410525-PF0BHWI8GVH9N9H85HB8/Savile-Row-tests.jpg Savile Row - 24 Savile Row During the process, Kate commissioned test panels to be cast in order to see how they related to the tiles. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446810745764-N8RKX8BO9L7K4ZPRNHY6/Savile-Row.gif Savile Row - 24 Savile Row The technical challenges of manipulating and layering thousands of individual pieces were considerable, The CAD files became increasingly large the nearer I got to the final 1.2 metre panel, but in the end the design came together and was approved by Kate and Stephen. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446811767506-FLPQ16LYLBL3PXSS97MJ/Savile-Row-panel-section.jpg Savile Row - 24 Savile Row A CAD rendering of a section of the final panel. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446811685455-WXOKGRXCOU28YJ6M5TKB/Savile-Row-CNC.jpg Savile Row - 24 Savile Row Once the design was finally finished, the CAD file sent for the production of a CNC milled panel from which the sand-cast moulds could be produced. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446811080814-27O1L8ASBSMNJOXO49BC/Savile-Row-sandcast.jpg Savile Row - 24 Savile Row In all, 12 individual panels were required, each precisely cut to follow the sloping line of the pavement and fit snugly up against the bottom edge of the tiles. Kate selected JT Price of Newcastle-under-Lyme to cast the panels, and carefully supervised the casting and then the patination. I was very pleased to have been invited to play my part in this project, it was a demanding, but very rewarding, the results of which are a testament to the tenacity, organisational ability and creative force of Kate Malone. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446811135477-W9KGKTEAF9RBRJXIC3FJ/Savile-Row.jpg Savile Row - 24 Savile Row And here's the completed building, looking pretty much like the artist's impression. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446811196903-0BLI76UEK36EL83W0ISJ/Savile-Row-bronze2.jpg Savile Row - 24 Savile Row An accidental selfie reflection in one of Kate Malone's lovely blue-black crystaliine glazed tiles. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1446811270461-QJRYW54D1P42FNFPMRBC/Savile-Row-bronze.jpg Savile Row - 24 Savile Row Another image of the bronze panels, this time adjacent to Kate Malone's white crystalline tiles. [continued with the next image] https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1432644107905-9WJIILBNXX7TEJF90J46/Savile-Row-4.jpg Savile Row - Floor 4, 24 Savile Row I also spotted a subtle use of my CAD rendering on the floor number signs in the stairwell. http://www.michael-eden.com/2017 daily 0.75 2025-04-14 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1499079226152-CQ0O99SGBQYGIVFGLO1H/Romanesco-I-%2B-II.jpg 2017 - Romanesco I + II, 2017 According to the Wedgwood Museum[1] “Rococo-inspired wares formed a very small part of early Wedgwood production, but the most distinctive of these were those naturalistically-moulded earthenware fruit and vegetable forms made around 1760. Other potters in Staffordshire also made similar wares at this time. The lower portions of the cauliflower wares received a decoration of a brilliant green glaze, considered by many to have been developed by Wedgwood himself around the time of his partnership with Thomas Whieldon, master potter at Fenton.” I have been attracted to these early Wedgwood pots, and chose to use them as the starting point for a vase that connects art and mathematics. The florets of the cauliflower are arranged in a spiral formation which can be seen here in this beautiful Romanesco cauliflower. Like sunflowers and pine cones, the pattern created by the florets conforms to the Fibonacci sequence and the Golden Spiral, a simple mathematical system that controls how most things grow in nature. The other interesting mathematical connection is the fractal structure of the cauliflower florets, a fractal being “a never-ending pattern. Fractals are infinitely complex patterns that are self-similar across different scales.”[2] My Romanesco Vases also incorporate leaves created using photogrammetry, a system where a number of photographs, taken from different angles are stitched together to create a 3D photograph which can be imported into the CAD software. Once trimmed and edited, they can be connected to the other parts of the design. [1] http://www.wedgwoodmuseum.org.uk/collections/collections-online/object/cauliflower-ware-teapot/from_browse [2] http://fractalfoundation.org/resources/what-are-fractals/ Exhibited in 'Wedgwood and Wouldn't' at the Bowes Museum, Barnard Castle. Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1499079226152-CQ0O99SGBQYGIVFGLO1H/Romanesco-I-%2B-II.jpg 2017 - Romanesco I + II, 2017 According to the Wedgwood Museum[1] “Rococo-inspired wares formed a very small part of early Wedgwood production, but the most distinctive of these were those naturalistically-moulded earthenware fruit and vegetable forms made around 1760. Other potters in Staffordshire also made similar wares at this time. The lower portions of the cauliflower wares received a decoration of a brilliant green glaze, considered by many to have been developed by Wedgwood himself around the time of his partnership with Thomas Whieldon, master potter at Fenton.” I have been attracted to these early Wedgwood pots, and chose to use them as the starting point for a vase that connects art and mathematics. The florets of the cauliflower are arranged in a spiral formation which can be seen here in this beautiful Romanesco cauliflower. Like sunflowers and pine cones, the pattern created by the florets conforms to the Fibonacci sequence and the Golden Spiral, a simple mathematical system that controls how most things grow in nature. The other interesting mathematical connection is the fractal structure of the cauliflower florets, a fractal being “a never-ending pattern. Fractals are infinitely complex patterns that are self-similar across different scales.”[2] My Romanesco Vases also incorporate leaves created using photogrammetry, a system where a number of photographs, taken from different angles are stitched together to create a 3D photograph which can be imported into the CAD software. Once trimmed and edited, they can be connected to the other parts of the design. [1] http://www.wedgwoodmuseum.org.uk/collections/collections-online/object/cauliflower-ware-teapot/from_browse [2] http://fractalfoundation.org/resources/what-are-fractals/ Exhibited in 'Wedgwood and Wouldn't' at the Bowes Museum, Barnard Castle. Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1499079280661-SI0N730B4A7O0F439FJO/Romanesco-III.jpg 2017 - Romanesco Vase III, 2017 According to the Wedgwood Museum[1] “Rococo-inspired wares formed a very small part of early Wedgwood production, but the most distinctive of these were those naturalistically-moulded earthenware fruit and vegetable forms made around 1760. Other potters in Staffordshire also made similar wares at this time. The lower portions of the cauliflower wares received a decoration of a brilliant green glaze, considered by many to have been developed by Wedgwood himself around the time of his partnership with Thomas Whieldon, master potter at Fenton.” I have been attracted to these early Wedgwood pots, and chose to use them as the starting point for a vase that connects art and mathematics. The florets of the cauliflower are arranged in a spiral formation which can be seen here in this beautiful Romanesco cauliflower. Like sunflowers and pine cones, the pattern created by the florets conforms to the Fibonacci sequence and the Golden Spiral, a simple mathematical system that controls how most things grow in nature. The other interesting mathematical connection is the fractal structure of the cauliflower florets, a fractal being “a never-ending pattern. Fractals are infinitely complex patterns that are self-similar across different scales.”[2] My Romanesco Vases also incorporate leaves created using photogrammetry, a system where a number of photographs, taken from different angles are stitched together to create a 3D photograph which can be imported into the CAD software. Once trimmed and edited, they can be connected to the other parts of the design. [1] http://www.wedgwoodmuseum.org.uk/collections/collections-online/object/cauliflower-ware-teapot/from_browse [2] http://fractalfoundation.org/resources/what-are-fractals/ Private Collection. Acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1499079294403-KKYZI3DAUJIZ7M81QJZI/Romanesco-IV.jpg 2017 - Romanesco IV, 2017 According to the Wedgwood Museum[1] “Rococo-inspired wares formed a very small part of early Wedgwood production, but the most distinctive of these were those naturalistically-moulded earthenware fruit and vegetable forms made around 1760. Other potters in Staffordshire also made similar wares at this time. The lower portions of the cauliflower wares received a decoration of a brilliant green glaze, considered by many to have been developed by Wedgwood himself around the time of his partnership with Thomas Whieldon, master potter at Fenton.” I have been attracted to these early Wedgwood pots, and chose to use them as the starting point for a vase that connects art and mathematics. The florets of the cauliflower are arranged in a spiral formation which can be seen here in this beautiful Romanesco cauliflower. Like sunflowers and pine cones, the pattern created by the florets conforms to the Fibonacci sequence and the Golden Spiral, a simple mathematical system that controls how most things grow in nature. The other interesting mathematical connection is the fractal structure of the cauliflower florets, a fractal being “a never-ending pattern. Fractals are infinitely complex patterns that are self-similar across different scales.”[2] My Romanesco Vases also incorporate leaves created using photogrammetry, a system where a number of photographs, taken from different angles are stitched together to create a 3D photograph which can be imported into the CAD software. Once trimmed and edited, they can be connected to the other parts of the design. [1] http://www.wedgwoodmuseum.org.uk/collections/collections-online/object/cauliflower-ware-teapot/from_browse [2] http://fractalfoundation.org/resources/what-are-fractals/ Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1499079042057-GBPOFF1T79PHNOZ16Q4T/Emoji-V.2.jpg 2017 - Emoji II, 2017 “We are thrilled to announce the addition of NTT DOCOMO’s original set of 176 emoji to the MoMA collection. Developed under the supervision of Shigetaka Kurita and released for cell phones in 1999, these 12 x 12 pixel humble masterpieces of design planted the seeds for the explosive growth of a new visual language.”[1] According to Wikipedia “Originally meaning pictograph, the word emoji comes from Japanese e (絵, "picture") + moji(文字, "character"). The resemblance to the English words emotion and emoticon is purely coincidental”[2] The emoji is simply the latest in a long line of pictograms and symbols that convey meaning; they are a form of language. On a visit to the British Museum I noticed the surface decoration of a hu, (6th century BC Chinese ceremonial wine vessel), as it reminded me of the QR barcodes. The decoration are actually symbols, when translated they tell of battles won or of heroic deeds by emperors. Like the QR code and emoji, they are a form of language. I then found other highly decorative vessels produced in that period which were used as the starting point of my emoji vase. When inspected closely, the viewer will be able to identify a group of common used emoji. [1] https://stories.moma.org/the-original-emoji-set-has-been-added-to-the-museum-of-modern-arts-collection-c6060e141f61#.vxyrhgymd [2] http://www.wikiwand.com/en/Emoji Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1499079093203-2NIHLTFWHCHA9RQA4268/Emoji-V.2-detail.jpg 2017 - Emoji II- detail, 2017 “We are thrilled to announce the addition of NTT DOCOMO’s original set of 176 emoji to the MoMA collection. Developed under the supervision of Shigetaka Kurita and released for cell phones in 1999, these 12 x 12 pixel humble masterpieces of design planted the seeds for the explosive growth of a new visual language.”[1] According to Wikipedia “Originally meaning pictograph, the word emoji comes from Japanese e (絵, "picture") + moji(文字, "character"). The resemblance to the English words emotion and emoticon is purely coincidental”[2] The emoji is simply the latest in a long line of pictograms and symbols that convey meaning; they are a form of language. On a visit to the British Museum I noticed the surface decoration of a hu, (6th century BC Chinese ceremonial wine vessel), as it reminded me of the QR barcodes. The decoration are actually symbols, when translated they tell of battles won or of heroic deeds by emperors. Like the QR code and emoji, they are a form of language. I then found other highly decorative vessels produced in that period which were used as the starting point of my emoji vase. When inspected closely, the viewer will be able to identify a group of common used emoji. [1] https://stories.moma.org/the-original-emoji-set-has-been-added-to-the-museum-of-modern-arts-collection-c6060e141f61#.vxyrhgymd [2] http://www.wikiwand.com/en/Emoji Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1494316072887-R03LBNXR27LS5CH0BIBJ/Wedgwoodn%27t-garniture.jpg 2017 - The Wedgwoodn't Garniture, 2017 The garniture is based on and inspired by 3 of the Wedgwood Vases held in the Bowes Museum collection. They are part of a group commissioned in about 1920 by the Mond family to fill the niches in the Georgian gallery at Winnington Hall, Cheshire, then the headquarters of the chemical manufacturers, Brunner Mond Ltd., which later merged with 3 other companies to become ICI. The factory responded by creating adaptations of its 18th century designs in black basalt, but in a scale far larger than any known before. Many of the vases were gifted to The Bowes Museum and other museums in Britain by ICI in 1999. Typical of the neo-classical style that was very fashionable at the time, two of the vases depict scenes from mythology. Wedgwood’s designs were inspired by Greek ceramics and sculpture, but not all the scenes depicted gods, goddesses or battle scenes. Many of the pots in the British Museum that I have studied illustrate scenes from daily life, for instance a shoemaker in his workshop, or performing musicians and dancers. My interpretation brings these vases firmly into the 21st century, utilising new design and manufacturing technology and replacing the scenes with images derived from popular culture, Strictly Come Dancing and the X factor television programmes. The vases were created using Rhino 3D CAD [computer aided design] software, slowly building up the individual sections. Once I was satisfied with the design on screen, the virtual designs were made real through Additive Manufacturing and the vases were manufactured using the latest Selective Laser Sintering technology. They were then hand finished. The use of these new tools allows me create objects that were previously impossible to manufacture and enables me to inhabit an exciting grey area somewhere between craft, design, art and technology. Private Collection, New York. Acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1499078673568-VBWRLOVQSA3PLVS4GAVX/Emoji-V.2.jpg 2017 - Emoji II, 2017 “We are thrilled to announce the addition of NTT DOCOMO’s original set of 176 emoji to the MoMA collection. Developed under the supervision of Shigetaka Kurita and released for cell phones in 1999, these 12 x 12 pixel humble masterpieces of design planted the seeds for the explosive growth of a new visual language.” [1] According to Wikipedia “Originally meaning pictograph, the word emoji comes from Japanese e (絵, "picture") + moji (文字, "character"). The resemblance to the English words emotion and emoticon is purely coincidental” [2] The emoji is simply the latest in a long line of pictograms and symbols that convey meaning; they are a form of language. On a visit to the British Museum I noticed the surface decoration of a hu, (6th century BC Chinese ceremonial wine vessel), as it reminded me of the QR barcodes. The decoration are actually symbols, when translated they tell of battles won or of heroic deeds by emperors. Like the QR code and emoji, they are a form of language. I then found other highly decorative vessels produced in that period which were used as the starting point of my emoji vase. When inspected closely, the viewer will be able to identify a group of common used emoji.   [1] https://stories.moma.org/the-original-emoji-set-has-been-added-to-the-museum-of-modern-arts-collection-c6060e141f61#.vxyrhgymd [2] http://www.wikiwand.com/en/Emoji Available through Adrian Sassoon, London. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1493126059343-68QIYX5ROX0Q3AX8ZMB7/emoji.jpg 2017 - Emoji 2017 “We are thrilled to announce the addition of NTT DOCOMO’s original set of 176 emoji to the MoMA collection. Developed under the supervision of Shigetaka Kurita and released for cell phones in 1999, these 12 x 12 pixel humble masterpieces of design planted the seeds for the explosive growth of a new visual language.”[1] According to Wikipedia “Originally meaning pictograph, the word emoji comes from Japanese e (絵, "picture") + moji(文字, "character"). The resemblance to the English words emotion and emoticon is purely coincidental”[2] The emoji is simply the latest in a long line of pictograms and symbols that convey meaning; they are a form of language. On a visit to the British Museum I noticed the surface decoration of a hu, (6th century BC Chinese ceremonial wine vessel), as it reminded me of the QR barcodes. The decoration are actually symbols, when translated they tell of battles won or of heroic deeds by emperors. Like the QR code and emoji, they are a form of language. I then found other highly decorative vessels produced in that period which were used as the starting point of my emoji vase. When inspected closely, the viewer will be able to identify a group of common used emoji. [1] https://stories.moma.org/the-original-emoji-set-has-been-added-to-the-museum-of-modern-arts-collection-c6060e141f61#.vxyrhgymd [2] http://www.wikiwand.com/en/Emoji Private Collection, Italy. Acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1493126587847-CFZKW6W2YSTYZ4MZXN7K/emoji-detail.jpg 2017 - Emoji 2017 - detail “We are thrilled to announce the addition of NTT DOCOMO’s original set of 176 emoji to the MoMA collection. Developed under the supervision of Shigetaka Kurita and released for cell phones in 1999, these 12 x 12 pixel humble masterpieces of design planted the seeds for the explosive growth of a new visual language.”[1] According to Wikipedia “Originally meaning pictograph, the word emoji comes from Japanese e (絵, "picture") + moji(文字, "character"). The resemblance to the English words emotion and emoticon is purely coincidental”[2] The emoji is simply the latest in a long line of pictograms and symbols that convey meaning; they are a form of language. On a visit to the British Museum I noticed the surface decoration of a hu, (6th century BC Chinese ceremonial wine vessel), as it reminded me of the QR barcodes. The decoration are actually symbols, when translated they tell of battles won or of heroic deeds by emperors. Like the QR code and emoji, they are a form of language. I then found other highly decorative vessels produced in that period which were used as the starting point of my emoji vase. When inspected closely, the viewer will be able to identify a group of common used emoji. [1] https://stories.moma.org/the-original-emoji-set-has-been-added-to-the-museum-of-modern-arts-collection-c6060e141f61#.vxyrhgymd [2] http://www.wikiwand.com/en/Emoji Private Collection, Italy. Acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1493125447834-CCZIKJ5IXYD4LB5W9QF7/Voxel-S%C3%A8vres.jpg 2017 - Voxel-Sèvres 2017 voxel (ˈvɒksəl) A voxel represents a single sample, or data point, on a regularly spaced, three-dimensional grid. It can be thought of a 3-dimensional pixel. The starting point for the Voxel-Sèvres vessel was my exploration of museums via the Google Art Project. It allows the viewer to float through galleries, and zoom in on anything that catches our fancy. Why join the queues when you can navigate through the empty galleries from the comfort of your armchair? It is an extraordinary technical achievement, a very useful tool, but it’s not the real thing, you can’t smell the oil paint and you can’t quite walk all the way round the sculptures. It is a 2D representation of the real world. The Voxel-Sèvres vessel explores the relationship between the actual world of real objects and the virtual world of digital technology. The Sèvres potpourri vase was chosen for its sensuous flowing curves, which would contrast the more rigid structure of the ‘voxel’ extrusions, emphasising the differences between physical objects and their virtual representations. I spent many hours creating numerous iterations of the design using Rhino 3D CAD software. Once satisfied with the design on screen, the data was sent to a bureau specialising in Additive Manufacturing and the piece was manufactured using the latest Selective Laser Sintering technology. It was then hand finished. Private Collection, Italy. Acquired through Adrian Sassoon, London. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1493125682383-A37B3NKNI5YY51BOB23J/shards.jpg 2017 - Shards 2017 The Sir John Soane Museum, facing Lincoln’s Inn Fields in London is an ‘eccentric 19th-century collector's home, packed with classical sculpture, paintings and curiosities’. It is a place that I visit at least once a year as it gives an insight into the world of a fascinating architect and collector. Visiting the museum can be an overwhelming experience, packed as it is with an eclectic mix of artefacts, paintings and architectural models. It’s very easy to miss hidden gems, hence the need to revisit regularly. One object that caught my eye on the last visit was a silver lidded tureen, a gift to Sir John Soane. Apart from its pleasing design, the reflections of the rest of the room in its surface caused a slightly disturbing sensation, fracturing the reflection in to a myriad of shards. The image stayed with me and I was reminded of it when looking through some Wedgwood catalogue drawings. Like the silver tureen, the ceramics had employed strong classical references. I decided to use the form as the starting point for my design, and create a simplified triangular ‘sliver’ representing the reflection of the contents of the room, arranging them to create a dynamic and energetic vase. I spent many hours creating numerous iterations of the design using Rhino 3D CAD software. Once satisfied with the design on screen, the data was sent to a bureau specialising in Additive Manufacturing and the piece was manufactured using the latest Selective Laser Sintering technology. It was then hand finished. The use of these new tools allows me create objects that were previously impossible to manufacture and enables me to inhabit an exciting grey area somewhere between craft, design and art. Private Collection. Acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1494519070003-G3T9TDQMO9XFEIGFTGLZ/Krater-V.1a.jpg 2017 - Krater V.1 2017 The Olympic Games are regarded as the world’s leading sports competition, with athletes taking part from over 200 countries. According to Wikipedia, “The first Olympics is traditionally dated to 776 BC”[1]. The winners would be given a crown made from the leaves of the sacred olive tree at Olympia. In addition, they often received pottery prizes, such as amphora filled with olive oil. The decoration on these pots often featured images of the competitions that the winning athletes had taken part in. On a research visit to Rooms 13 and 14 I was interested to see, that in addition to Olympian scenes and mythological imagery, there are also scenes taken from daily life; domestic scenes of food preparation, and in the scene shown below, women chatting whilst filling their water containers at the fountain. For Krater V.I, I decided to combine the ancient and the contemporary, by illustrating the vessel with a scene from Greek red and black pottery and a scene from contemporary British family life. In this case, it is a scene from the popular Channel 4 TV programme Gogglebox, where the family are seen watching and discussing the activities on their television. I spent many hours creating numerous iterations of the design using Rhino 3D CAD software. Once satisfied with the design on screen, the data was sent to a bureau specialising in Additive Manufacturing and the piece was manufactured using the latest Selective Laser Sintering technology. It was then hand finished. [1] http://www.wikiwand.com/en/Ancient_Olympic_Games Private Collection, USA. Acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1494519131639-UZGWG7TCQ5Q39VDYAVTX/Krater-V.1b.jpg 2017 - Krater V.1 2017 The Olympic Games are regarded as the world’s leading sports competition, with athletes taking part from over 200 countries. According to Wikipedia, “The first Olympics is traditionally dated to 776 BC”[1]. The winners would be given a crown made from the leaves of the sacred olive tree at Olympia. In addition, they often received pottery prizes, such as amphora filled with olive oil. The decoration on these pots often featured images of the competitions that the winning athletes had taken part in. On a research visit to Rooms 13 and 14 I was interested to see, that in addition to Olympian scenes and mythological imagery, there are also scenes taken from daily life; domestic scenes of food preparation, and in the scene shown below, women chatting whilst filling their water containers at the fountain. For Krater V.I, I decided to combine the ancient and the contemporary, by illustrating the vessel with a scene from Greek red and black pottery and a scene from contemporary British family life. In this case, it is a scene from the popular Channel 4 TV programme Gogglebox, where the family are seen watching and discussing the activities on their television. I spent many hours creating numerous iterations of the design using Rhino 3D CAD software. Once satisfied with the design on screen, the data was sent to a bureau specialising in Additive Manufacturing and the piece was manufactured using the latest Selective Laser Sintering technology. It was then hand finished. [1] http://www.wikiwand.com/en/Ancient_Olympic_Games Private Collection, USA. Acquired through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1494519316421-Q42F1HUAM5X6R86EMAN3/Krater-V.2.jpg 2017 - Krater V.2 2017 The Olympic Games are regarded as the world’s leading sports competition, with athletes taking part from over 200 countries. According to Wikipedia, “The first Olympics is traditionally dated to 776 BC”[1]. The winners would be given a crown made from the leaves of the sacred olive tree at Olympia. In addition, they often received pottery prizes, such as amphora filled with olive oil. The decoration on these pots often featured images of the competitions that the winning athletes had taken part in. For Krater V.II, I decided to combine the ancient and the contemporary, by illustrating the vessel with a scene from Greek red and black pottery and a scene from the contemporary Olympic Games. Hence the inclusion of a Paralympian athlete. I spent many hours creating numerous iterations of the design using Rhino 3D CAD software. Once satisfied with the design on screen, the data was sent to a bureau specialising in Additive Manufacturing and the piece was manufactured using the latest Selective Laser Sintering technology. It was then hand finished. The use of these new tools allows me create objects that were previously impossible to manufacture and enables me to inhabit an exciting grey area somewhere between craft, design and art. [1] http://www.wikiwand.com/en/Ancient_Olympic_Games Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1494519380391-EKH60QA2GU0AL29ZWS71/Krater-V.2-detail.jpg 2017 - Krater V.2 detail. 2017 The Olympic Games are regarded as the world’s leading sports competition, with athletes taking part from over 200 countries. According to Wikipedia, “The first Olympics is traditionally dated to 776 BC”[1]. The winners would be given a crown made from the leaves of the sacred olive tree at Olympia. In addition, they often received pottery prizes, such as amphora filled with olive oil. The decoration on these pots often featured images of the competitions that the winning athletes had taken part in. For Krater V.II, I decided to combine the ancient and the contemporary, by illustrating the vessel with a scene from Greek red and black pottery and a scene from the contemporary Olympic Games. Hence the inclusion of a Paralympian athlete. I spent many hours creating numerous iterations of the design using Rhino 3D CAD software. Once satisfied with the design on screen, the data was sent to a bureau specialising in Additive Manufacturing and the piece was manufactured using the latest Selective Laser Sintering technology. It was then hand finished. The use of these new tools allows me create objects that were previously impossible to manufacture and enables me to inhabit an exciting grey area somewhere between craft, design and art. [1] http://www.wikiwand.com/en/Ancient_Olympic_Games Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. http://www.michael-eden.com/form-and-transfrom daily 0.75 2025-04-18 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530198259611-8L69XS5EYQVZCHFBBTVQ/video+thumbnail.jpg 2018 - Form and Transform - Michael Eden - Form and Transform exhibition, Waddesdon Manor 2018 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530198259611-8L69XS5EYQVZCHFBBTVQ/video+thumbnail.jpg 2018 - Form and Transform - Michael Eden - Form and Transform exhibition, Waddesdon Manor 2018 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1534451629667-NQR6VF2DP3P9FK1FEHFO/Michael-Eden%2C-Form-%26-Transform.-Coach-House-at-Waddesdon-Manor%2C-25th-May--28th-October-2018.-Photo-National-Trust%2C-Waddesdon-Manor%2C-Mike-Fear-%282%29.jpg 2018 - Form and Transform - Form and Fusion 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 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1534451678517-1KPPWGMNMSAS5N52HC7G/Michael-Eden%2C-Form-%26-Transform.-Coach-House-at-Waddesdon-Manor%2C-25th-May--28th-October-2018.-Photo-National-Trust%2C-Waddesdon-Manor%2C-Mike-Fear-%283%29.jpg 2018 - Form and Transform - Imitation & Pastiche 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 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1534451754757-ZAK9LKSD1L4JG1NA9PJL/Michael-Eden%2C-Form-%26-Transform.-Coach-House-at-Waddesdon-Manor%2C-25th-May--28th-October-2018.-Photo-National-Trust%2C-Waddesdon-Manor%2C-Mike-Fear-%284%29.jpg 2018 - Form and Transform - Flights of Fancy 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 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530197703500-7XINWGUQP377FSM9715C/video+thumbnail.jpg 2018 - Form and Transform https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1534451794667-OBYFOREQB5X9UX4KTZKM/Michael-Eden%2C-Form-%26-Transform.-Coach-House-at-Waddesdon-Manor%2C-25th-May--28th-October-2018.-Photo-National-Trust%2C-Waddesdon-Manor%2C-Mike-Fear-%285%29.jpg 2018 - Form and Transform - Hidden Worlds 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 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1534451830381-KY6J3AL3X8HEJSMIWJSG/Michael-Eden%2C-Form-%26-Transform.-Coach-House-at-Waddesdon-Manor%2C-25th-May--28th-October-2018.-Photo-National-Trust%2C-Waddesdon-Manor%2C-Mike-Fear-%287%29.jpg 2018 - Form and Transform - The Enlightenment 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 https://static1.squarespace.com/static/5426e8c5e4b043ee968a9514/5b34e23b0e2e7239ad7f64f2/5b34f8e527d2864285075740/1530198227322/video+thumbnail.jpg 2018 - Form and Transform - Michael Eden - Form and Transform exhibition, Waddesdon Manor 2018 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1548519961602-R7258FRWAN4X5XJECGV0/Apollo-Inverto-1500.jpg 2018 - Form and Transform - 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 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1548520568537-ZO28KH9MOY7OFHGL3G52/Spiralis%252C-2018.jpg 2018 - Form and Transform - 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196310631-7O695ZNDPHDO4ZX4WDSI/Spiralis%2C-2018-detail.jpg 2018 - Form and Transform - 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744817787964-XJ358NSBK6GDZJULE5SI/After-Saly-II%252C-2018.jpg 2018 - Form and Transform - 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744817911114-9P18TOEJQWYN3HLJUDMX/After-Saly-II%252C-2018-detail.jpg 2018 - Form and Transform - 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744818535031-DVSQVCVUP4UL7CX2FVRU/After-Le-Lorrain-2018.jpg 2018 - Form and Transform - 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744818600381-BP7SVBIDVBQ2QP3FREVM/After+Le+Lorrain+%28detail%29%2C+2018%3B++%C2%A9+Michael+Eden.+Image+courtesy+of+Adrian+Sassoon%2C+London.jpg 2018 - Form and Transform - After Le Lorrain I, 2018 - detail 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744819335979-M8PDHUZ6T0TU306YTTT2/Icons-I-2018.jpg 2018 - Form and Transform - 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744985634467-H3EA9A98BTTY7T02IK0H/After-Piranesi-I-1500.jpg 2018 - Form and Transform - After Piranesi !, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1548521441772-COP4UFESFCSHDRMW6R7D/After-Piranesi-I%252C-2018-detail.jpg 2018 - Form and Transform - 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. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196724267-ISD4LTEUSTLWO5YK4OB1/Vermicul%C3%A9-Vase%2C-2018.jpg 2018 - Form and Transform - Vermiculé Vase 2018 Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530198917736-MG5Y3S3RZTXT70G4HOWI/After-Saly-I%2C-2018.jpg 2018 - Form and Transform - After Saly I, 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 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196650719-JJOZUMWQPLRGUSZ1POSP/After-Le-Lorrain-II%2C-2018.jpg 2018 - Form and Transform - After Le Lorrain II, 2018 Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196483960-GCBQCF3EY2UYI5GKROHE/Coccolith-Vase%2C-2018.jpg 2018 - Form and Transform - Coccolith Vase, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196496706-LPVGZINVY6QYLCU0UP6W/Coccolith-Vase%2C-2018%3B-detail.jpg 2018 - Form and Transform - Coccolith Vase, 2018 Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196508916-L339HIHBZGCUQJT5I43T/Nautilus-II%2C-2018.jpg 2018 - Form and Transform - Nautilus II, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196520594-4Z4H275C27RZB43LIJKM/Nautilus-II%2C-2018%3B--detail.jpg 2018 - Form and Transform - Nautilus II, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196534394-32GC01O2Z1KKZ0ONETZP/A-Pair-of-Caillout%C3%A9-Vases%2C-2018.jpg 2018 - Form and Transform - A pair of Caillouté Vases, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196684663-T7Q477YG241YKA3P83RM/Vermicul%C3%A9-II%2C-2018.jpg 2018 - Form and Transform - Vermiculé Vase II, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196693571-WAM9XMFIS4A3LKKNMHWJ/Vermicul%C3%A9-II%2C-2018-detail.jpg 2018 - Form and Transform - Vermiculé Vase II, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196546525-AHXS2BUY5TGIR86AUI28/A-Pair-of-Elephant-Vases%2C-2018.jpg 2018 - Form and Transform - A pair of Elephant Vases, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196564490-NFZLK2XWZ1UONINF8H5Q/Rococo-I%2C-2018.jpg 2018 - Form and Transform - Rococo I, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196576914-7TA3QPKKTT3MJ0160AQM/Dido-Monstrance%2C-2018.jpg 2018 - Form and Transform - Dido Monstrance, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196984762-R1184G2VFFZ9E89BWWKG/Dido-Monstrance%2C-2018-detail.jpg 2018 - Form and Transform - The Dido Monstrance, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196587529-BH3XANIMSFFWTZ9ZGNII/Ship-Vase%2C-2018.jpg 2018 - Form and Transform - Ship Vase, 2018 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196605552-KMCWNBK3H75FB861T5MQ/Putti-Cuvette%2C-2018.jpg 2018 - Form and Transform - Putti Cuvette 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530196617073-N86T4LYBSRYU5XS3I1FG/Acanthus-Vase%2C-2018.jpg 2018 - Form and Transform - Acanthus Vase, 2018. 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. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1530199088746-5SSF1MG80LKIMBT5P5E6/Rococo-II%2C-2018%3B.jpg 2018 - Form and Transform - Rococo II, 2018 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. http://www.michael-eden.com/2020 daily 0.75 2025-04-18 https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1601550715239-6OVPG1CGYXWXL33D0IYQ/Quercus.jpg 2020 - 2024 - Quercus 2020 Exhibited in The London Edit at Sotheby’s, New Bond Street, London. “The space launches with a stunning display in which renowned gallerist Adrian Sassoon and his stable of leading international artists will take centre stage. This inaugural exhibition will bring together over 70 exceptional items – including exciting new creations in ceramic, glass and silver, by leading makers including Bouke de Vries, Kate Malone MBE, Hitomi Hosono, Felicity Aylieff, Hiroshi Suzuki, Michael Eden and Junko Mori. Their work will be presented alongside exceptional jewels, watches, fine art and design, selected by Sotheby’s specialists.” Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1601550715239-6OVPG1CGYXWXL33D0IYQ/Quercus.jpg 2020 - 2024 - Quercus 2020 Exhibited in The London Edit at Sotheby’s, New Bond Street, London. “The space launches with a stunning display in which renowned gallerist Adrian Sassoon and his stable of leading international artists will take centre stage. This inaugural exhibition will bring together over 70 exceptional items – including exciting new creations in ceramic, glass and silver, by leading makers including Bouke de Vries, Kate Malone MBE, Hitomi Hosono, Felicity Aylieff, Hiroshi Suzuki, Michael Eden and Junko Mori. Their work will be presented alongside exceptional jewels, watches, fine art and design, selected by Sotheby’s specialists.” Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1601550999067-TYNL1VPXLTLAYD0BD6EF/Quercus-detail.jpg 2020 - 2024 - Quercus 2020 detail Exhibited in The London Edit at Sotheby’s, New Bond Street, London. “The space launches with a stunning display in which renowned gallerist Adrian Sassoon and his stable of leading international artists will take centre stage. This inaugural exhibition will bring together over 70 exceptional items – including exciting new creations in ceramic, glass and silver, by leading makers including Bouke de Vries, Kate Malone MBE, Hitomi Hosono, Felicity Aylieff, Hiroshi Suzuki, Michael Eden and Junko Mori. Their work will be presented alongside exceptional jewels, watches, fine art and design, selected by Sotheby’s specialists.” Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1601548436170-757ZG7JWVD3WJVXZ3K3Z/Nautilus-IVa.jpg 2020 - 2024 - Nautilus IV 2020 Exhibited in The London Edit at Sotheby’s, New Bond Street, London. “The space launches with a stunning display in which renowned gallerist Adrian Sassoon and his stable of leading international artists will take centre stage. This inaugural exhibition will bring together over 70 exceptional items – including exciting new creations in ceramic, glass and silver, by leading makers including Bouke de Vries, Kate Malone MBE, Hitomi Hosono, Felicity Aylieff, Hiroshi Suzuki, Michael Eden and Junko Mori. Their work will be presented alongside exceptional jewels, watches, fine art and design, selected by Sotheby’s specialists.” Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744986123909-VOVVMKW2VTF0UCNDMRDB/Nautilus-IVb.jpg 2020 - 2024 - Nautilus IV Exhibited in The London Edit at Sotheby’s, New Bond Street, London. “The space launches with a stunning display in which renowned gallerist Adrian Sassoon and his stable of leading international artists will take centre stage. This inaugural exhibition will bring together over 70 exceptional items – including exciting new creations in ceramic, glass and silver, by leading makers including Bouke de Vries, Kate Malone MBE, Hitomi Hosono, Felicity Aylieff, Hiroshi Suzuki, Michael Eden and Junko Mori. Their work will be presented alongside exceptional jewels, watches, fine art and design, selected by Sotheby’s specialists.” Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1601553442386-PP3DM1GC97JQBPPKJG3N/Nautilus-IV_detail.jpg 2020 - 2024 - Nautilus IV 2020 - detail Exhibited in The London Edit at Sotheby’s, New Bond Street, London. “The space launches with a stunning display in which renowned gallerist Adrian Sassoon and his stable of leading international artists will take centre stage. This inaugural exhibition will bring together over 70 exceptional items – including exciting new creations in ceramic, glass and silver, by leading makers including Bouke de Vries, Kate Malone MBE, Hitomi Hosono, Felicity Aylieff, Hiroshi Suzuki, Michael Eden and Junko Mori. Their work will be presented alongside exceptional jewels, watches, fine art and design, selected by Sotheby’s specialists.” Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. Available through Adrian Sassoon, London https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744318161334-UNRAJWMKP01R4D8LQV1I/Bal+des+Ifs+-+ME218.eden.sassoon.jpg 2020 - 2024 - Bal des Ifs I 2022 The design of the Bal des Ifs vase, was partly inspired by reading about The Yew Ball, a masked ball held in the Hall of Mirrors at Versailles on the night of 25–26 February 1745 to celebrate the marriage of the Dauphin Louis, son of Louis XV and Queen Marie Leczinska to his cousin, Maria Teresa Rafaela of Spain. The King and his entourage dressed as topiary – identical clipped yew trees and it is said that the Ball was the occasion where he met Jeanne-Antoinette de Poisson, who later that year was presented to court as the Marquise de Pompadour and became his mistress until her death in 1764. The other inspiration for this vase came from somewhere much closer to home. I am fortunate to live in Cumbria in the north-west of England, a few miles from Levens Hall, which is home to a world famous topiary garden. It was laid out by Guillaume Beaumont, the gardener of King James II and the designer of the grounds at Hampton Court. He is said to have been the pupil of André Le Nôtre who designed the gardens of Versailles for Louis XIV. The Bal des Ifs Vase brings these two inspirations succinctly together. The topiary at Levens Hall were the inspiration for a number of teapots and vessels that I made in decorated earthenware in the 1990’s, long before attending the Royal College of Art and my work evolving to where it is today. The story of the Bal des Ifs has given me an enjoyable reason to revisit Levens. The tools I used to make the piece bring together craft, material knowledge and technology, borne from a creative urge to find new ways to make complex objects that cannot be achieved by any other method. The Bal des Ifs vase was designed using Rhino 3D CAD software, then 3D printed in nylon, after which it was metalized in copper, given a patinated surface treatment and 24ct gold leaf decoration. Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744140662242-QNHFVRJN8QMYTDUWY1WU/Bal+des+Ifs+Detail+ME218.eden.sassoon_2.jpg 2020 - 2024 - Bal des Ifs 2022 The design of the Bal des Ifs vase, was partly inspired by reading about The Yew Ball, a masked ball held in the Hall of Mirrors at Versailles on the night of 25–26 February 1745 to celebrate the marriage of the Dauphin Louis, son of Louis XV and Queen Marie Leczinska to his cousin, Maria Teresa Rafaela of Spain. The King and his entourage dressed as topiary – identical clipped yew trees and it is said that the Ball was the occasion where he met Jeanne-Antoinette de Poisson, who later that year was presented to court as the Marquise de Pompadour and became his mistress until her death in 1764. The other inspiration for this vase came from somewhere much closer to home. I am fortunate to live in Cumbria in the north-west of England, a few miles from Levens Hall, which is home to a world famous topiary garden. It was laid out by Guillaume Beaumont, the gardener of King James II and the designer of the grounds at Hampton Court. He is said to have been the pupil of André Le Nôtre who designed the gardens of Versailles for Louis XIV. The Bal des Ifs Vase brings these two inspirations succinctly together. The topiary at Levens Hall were the inspiration for a number of teapots and vessels that I made in decorated earthenware in the 1990’s, long before attending the Royal College of Art and my work evolving to where it is today. The story of the Bal des Ifs has given me an enjoyable reason to revisit Levens. The tools I used to make the piece bring together craft, material knowledge and technology, borne from a creative urge to find new ways to make complex objects that cannot be achieved by any other method. The Bal des Ifs vase was designed using Rhino 3D CAD software, then 3D printed in nylon, after which it was metalized in copper, given a patinated surface treatment and 24ct gold leaf decoration. Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744316936673-JXVVXEB5238DRAUQ18FO/Tassis+I+ME220.eden.sassoon_1_%28c%29+Sylvain+Deleu.jpg 2020 - 2024 - Tassis I 2024 On a visit to the Bowes Museum in Barnard Castle I was attracted to a small group of 17th century highly ornate raised needle lace collars, part of their world class Blackborne Lace Collection. Worn by both men and women, one particular piece caught my eye. It would have been worn over the shoulders of wealthy women such as Maria de Tassis, after whom this piece is named. The simple, broad band of lace is created from an assemblage of almost abstract flowers and leaves, held delicately together on fine linen threads. Using it as the starting point I designed a contemporary interpretation, and as it was intended to be on the first pieces to be 3D printed for me in Jingdezhen, the porcelain capital of China, I referenced Chinese decoration in the design. Having previously worked as a potter for 25 years, my interest in using new technology was borne from a creative urge to find new ways to create artworks that cannot be achieved by any other method. Tassis I was designed using Rhino 3D CAD software, then 3D printed in powdered porcelain, after which it was biscuit fired and then custom glaze fired. Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. https://images.squarespace-cdn.com/content/v1/5426e8c5e4b043ee968a9514/1744317441157-Q63R0NIZPEV4E8KGY4EI/Tassis+I+detail+ME220.eden.sassoon_2_%28c%29+Sylvain+Deleu.jpg 2020 - 2024 - Tassis I 2024 - detail On a visit to the Bowes Museum in Barnard Castle I was attracted to a small group of 17thcentury highly ornate raised needle lace collars, part of their world class Blackborne Lace Collection. Worn by both men and women, one particular piece caught my eye. It would have been worn over the shoulders of wealthy women such as Maria de Tassis, after whom this piece is named. The simple, broad band of lace is created from an assemblage of almost abstract flowers and leaves, held delicately together on fine linen threads. Using it as the starting point I designed a contemporary interpretation, and as it was intended to be on the first pieces to be 3D printed for me in Jingdezhen, the porcelain capital of China, I referenced Chinese decoration in the design. Having previously worked as a potter for 25 years, my interest in using new technology was borne from a creative urge to find new ways to create artworks that cannot be achieved by any other method. Tassis I was designed using Rhino 3D CAD software, then 3D printed in powdered porcelain, after which it was biscuit fired and then custom glaze fired. Available through Adrian Sassoon, London. Images courtesy Adrian Sassoon, London. © Photography by Sylvain Deleu. http://www.michael-eden.com/videos daily 0.75 2017-10-11 http://www.michael-eden.com/about daily 0.75 2025-04-14 http://www.michael-eden.com/contact daily 0.75 2018-08-16