Designed by ico Design, the website has been styled with a contemporary take on Victorian ephemera, so don’t expect your average shiny site. By using an optical character recognition font (OCR) on pale block colour backgrounds the design allows us to revel in the glory of the art works. There are no distractions.
The exhibition itself is brilliant, revealing archive material in the form of catalogue texts, sketches, postcards from the makers with installation instructions and films. It also features a section called Inspired that showcases six new commissions from creative voices – sound artist Scanner, poet John Agard, illustrator Chris Haughton, poet Paul Adrian, Prick Your Finger and It’s Nice That. With object details, maker details and links to more work from each artist you can get lost in this exhibition for hours…..
Yesterday I spent my (extended…) lunchbreak browsing 40:40 and have selected my favourite pieces for you to have a nosey at. If you love them and want to see more, get yourself over to 40:40 for the full exhibition.
Michael Eden’s pink tureen is based on designs from the 1817 Wedgwood Creamware Catalogue and was designed using a rapid manufacturing machine, which ‘prints’ in three dimensions from a digital file.
Selected by Shane RJ Walter, Co-founder/Creative Director of international moving image and digital arts organisation onedotzero.
The Spirit Level Brooch was part of a 2004 series about balance and movement. It reflected Hogg’s own balancing act in life, juggling her job as Head of Jewellery and Silversmithing at Edinburgh College of Art, her own work, curating, and raising a young family.
Selected by Corinne Julius, Broadcaster, writer & critic on contemporary craft and design. Crafts Council Acquisition Advisor, 1999-2000.
Using a fine nylon thread Susie Freeman knits an almost transparent double layered fabric with rows of small pockets. In this piece, T-shirt, Freeman places tiny pieces of braid, ribbon and sequins in the pockets.
Selected by Malcolm Garrett, Graphic designer. Creative Director, 53K.
The Art for Glass production range has been developed over the last 20 years by Steven Newell. The range, of which Flat Jug is an early example, is entirely made by hand using traditional glass blowing techniques.
Selected by Rafael Molina, Curator, Sala El Farol Art Gallery, Universidad de Valparaiso, Chile.
Cliché is a bottle of tiny silver sheep to be taken out and counted at bedtime. As a jeweller, Potter seeks to challenge perceptions of jewellery as a purely decorative art and is concerned with the personal relationships that develop between people and their possessions.
Selected by Paul Reynolds, MA student of Curating Contemporary Art, Royal College of Art, London. Inspire Intern, Crafts Council Exhibitions & Collection team.
The 40:40 exhibition will be online indefinitely.