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This research examines the creation of the animal symbol in metal. The investigation generates important insights in relation to human creativity, zoomorphic representation, material agency, and bio-inspiration, while activating vital links between the symbolic and the utilitarian. Two key questions motivate the research trajectory: What is the role and meaning of the animal symbol in creative objects? And, in which ways can a study of the connection between animal symbology, metal, material engagement, and the mythopoeic lead to new possibilities within contemporary art? To answer these questions, the project is approached through my perspective as a silversmith. It grows out of practice-led research into the characteristics and working properties of metallic elements, most particularly gold, silver, copper, and iron, and the use of these materials in the portrayal of the animal symbol. The artistic endeavour in the studio seeks to better fathom and advance conceptual vitality and vibrancy within this specific type of creative material production. Simultaneously immutable and transmutable, animal symbology in metal is shown to be a totemic visual and material language that animates ideas through allusion to biological dynamism in combination with qualities of metallic longevity and an elemental, embryonic potential for endless change. These associations speak to ideas of embodiment, divine animism, and enduring spirit, and further can be seen to exemplify the forces impelling the tumult of cultural activity and exchange embedded in material culture. Encompassing an epic sweep of history and drawing on archaeology, anthropology, and a particular Nordic worldview within the Western tradition of material culture, Talisman, Tool and Touchstone examines the past in order to look to the future. In this exploration the creative and conceptual research findings are advanced and made tangible through the specificity of artefacts discussed, subjects examined and objects made.

‘Redefining Luxury’ – Social and Cultural Innovation through Craft- re-generating the silversmithing industry. For centuries, people worldwide have satisfied themselves with the possession of beautiful things. Traditionally, luxury goods have been defined as “goods for which the mere use of display of a particular branded product brings prestige to the owner”(Husic and Cicic 2007) Luxury Consumption Factors. In my research I am concerned with Design Culture, Value, Attitude and Behaviour around who the luxury consumer is, but more importantly, what exemplifies sustainable luxury? Furthermore, I set out to challenge the traditional culture of collecting contemporary silversmithing by exploring material perceptions within a changing society by re-shaping drivers that stimulate a desire to invest in precious metal artefacts. The research investigates how different cultures associate with silver through their cultural identity. I approach silver unconventionally and with insight. I aim to present silver from fresh perspectives and to give it contemporary relevance in people’s everyday lives informed through extensive research on the ways in which silver has traditionally been used and displayed. This has led me to question its most basic concepts and forms. With the ‘Table Top to the Wall’ series, Architect #1 & #2, I challenge the places where silver objects conventionally ‘live’ – in or on furniture – and demonstrate how the expected may evolve naturally into the unexpected. I describe this new work as ‘abstract jewellery for buildings’. By designing these objects to adorn walls, I simply extend the boundaries of possible places to display silver in the home or in public spaces.

La presente investigación tiene como objetivo el estudio y atribución de nuevas piezas al orfebre compostelano Jacobo Pecul Montenegro (1753-1817), cuya producción refl eja una estética infl uida por una parte de las formas francesas aprendidas de su padre, Claudio Pecul, y por otra de los artistas gallegos, cómo Ferreiro o Simón Rodríguez. Se han seleccionado veinticuatro nuevas piezas entre cruces parroquiales, cálices, copones, incensarios, navetas y ostensorios, las cuales aparecen referenciadas en el Libro de Caja de Pecul, extractado por Couselo Bouzas en su Galicia Artística, y catalogadas en el Archivo Diocesano de la Iglesia Católica. Dichas obras han sido estudiadas y atribuidas a Jacobo Pecul siguiendo las directrices marcadas por José Manuel López Vázquez, quién ha tratado en profundidad la obra de este platero. En estas páginas se realiza un breve análisis del autor así como de las tipologías de orfebrería religiosa del cambio del barroco al neoclásico en Galicia, pretendiendo así mismo ser una llamada de atención sobre la platería gallega, un patrimonio que forma parte de nuestra imaginería popular y que a menudo queda en el olvido. A presente investigación ten como obxectivo o estudo e atribución de novas pezas ó orfebre compostelán Jacobo Pecul Montenegro (1753-1817), cuxa produción refl exa unha estética infl uída, por unha parte das formas francesas aprendidas de seu pai, Claudio Pecul, e pola outra dos artistas galegos, como Ferreiro ou Simón Rodríguez. Seleccionáronse vinte e catro novas pezas entre cruces parroquiais, cálices, copóns, incensarios, navetas e ostensorios, as cales aparecen referenciadas no Libro de Caixa de Pecul, extractado por Couselo Bouzas en Galicia Artística, e catalogadas no Arquivo Diocesano da Igrexa Católica. Ditas obras foron estudiadas e atribuídas a Jacobo Pecul seguindo as directrices marcadas por José Manuel López Vázquez, quen tratou en profundidade a obra deste prateiro. Nestas páxinas realizase unha breve análise do autor, así como das tipoloxías de ourivería relixiosa no cambio do barroco ó neoclásico en Galicia, pretendendo ó mesmo tempo ser unha chamada de atención sobre a pratería galega, un patrimonio que forma parte da nosa imaxinería popular e que a miúdo permanece esquecida The purpose of this research is the study and attribution of new pieces to Jacobo Pecul Montenegro (1753-1817) a silversmith from Santiago de Compostela. His production refl ects an aesthetic clearly infl uenced by French forms which he learnt from his father Claudio Pecul. But also Galician artists´ work, such as Ferreiro or Simón Rodríguez, had an impact on Montenegro’s own creations. Twenty four new pieces have been selected from parish crosses, holy chalices, ciboriums, censers, “navetas” and monstrances, which are referenced in Pecul’s manuscript “Libro de Caja”. They were extracted by Couselo Bouzas in his Galicia Artística, and catalogued in the Diocesan Archive of the Catholic Church. These pieces have been studied and attributed to Jacobo Pecul Montenegro by the guidelines set by José Manuel López Vázquez, who has studied the work of this silversmith in depth. This article attempts to make a brief study of both the author and the silversmithing typologies in the shift from the baroque style to the neoclassical style. And at the same time this study also aims to draw attention to Galician silversmithing, which is a patrimony of our popular imagery, and more often than not highly neglected. SI

A monographic study of the caskets of Saints Adrian and Natalia from The Art Institute of Chicago was carried out. Historiography of Romanesque art has forgotten this piece, but it was studied analyzing the life cycle of both Eastern Saints, examining its technical aspects as well as its epigraphs. All is kept in the study limits of the origin of its worship in Byzantium, the transfer of their relics to Rome and during the 9th and 10th centuries, its spread in the old Astur-Leonese Kingdom. Finally, we studied the iconography in relation to the Passio written about the martyr and a comparison is carried out with the silversmith works in San Isidoro de Leon. Se realiza el estudio monográfico de la arqueta de los santos Adrián y Natalia del Art Institute de Chicago, pieza olvidada por la historiografía del arte románico, analizando el ciclo figurativo sobre la vida de los dos santos orientales que alberga, examinando su factura técnica, así como sus epígrafes. Todo ello se enmarca en el estudio del origen de su culto en Bizancio, el traslado de sus reliquias a Roma y, durante los siglos IX y X, su expansión en el antiguo reino astur leonés. Finalmente se trata la iconografía en relación con la Passio escrita del mártir y se establecen comparativas con las obras de orfebrería realizadas en San Isidoro de León.

The casket now in the Museum of the Cathedral of Girona is an unparalleled piece of silversmithing from the Caliphate of Cordoba. It is a unique object both because of the historical information it provides and due to its artistic value. It was commissioned by al-Ḥakam II as a gift for his son, the future Caliph Hišām II, and it can be dated to 976 or a little earlier. This essay offers for the first time the complete reading of its external dedicatory inscription, and it also includes an extensive historiographic review of the studies devoted to it. The names mentioned in the casket inscriptions are then discussed, as well as the date of its production and its possible use. The author raises some of the questions suggested by this object that need to be further researched, as its appearance in Girona in the 19th century without evidence about its provenance., La arqueta andalusí que se conserva en la Catedral de Girona es una pieza sin igual de la platería califal cordobesa; es única tanto por su información histórica como por su valor artístico. Mandada hacer por al-Ḥakam II para obsequiar a su hijo, el futuro califa Hišām II, se fecha en 976 o poco antes. Este artículo ofrece por primera vez la lectura completa del epígrafe de la dedicatoria que la decora exteriormente. Se hace un amplio recorrido historiográfico de los trabajos que han tratado de ella. Se comentan los nombres de los personajes mencionados en la inscripción exterior y en la del cierre, la fecha de realización y su posible función. Se plantean algunos interrogantes que suscita su estudio y que quedan por investigar, como su aparición en Girona en el s. XIX sin que haya noticias sobre su anterior paradero.

original creative work - visual art work First Showing