National Museum Cariff

Right at the beginning of the course on our first day we got the chance to take a look round the National Museum Wales. We were instructed to look for objects of interests to us that we felt helped to say something about us as a makers. My first object that I found was a beautiful spiralling ammonite crystal. What captured me about this object was the absolute perfection of the spiral, completely formed in nature. The spiral was divided up into segments each getting smaller and smaller as the spiral spiralled towards infinity. The absolute perfection contrasted with the random nature of the way in which the crystals had formed inside the segments. The ammonite had been beautifully presented with the pieced sliced through to reveal all this inside the ammonite spiral, and the surfaced polished to a shine.

The second object I found was piece of sculpture by Pamala Rawnsley. I say its a piece of sculpture because it was displayed on a plinth inside a glass vitrine, yet the piece could easily be a functional object. The object were vessels made out of silver, with black and gold gilding inside. The vessels had a very organic shape inspired by the landscape and nature that surrounded Rawnsley’s studio. What attracted me to these objects, apart from the beautiful organic form of the pieces, were the simplistic form and simple contrasting colours of the vessels. The exteriors were polished silver with the interior of the vessel finished in either gold or black gilding. The vessels had such a simple yet incredibly elegant form that I was immediately drawn to. The vessels were made with such ruthless precision. I also really like how they are so beautiful that they can be seen as a work of art alongside actually being a functional vessel, in this case, if the maker desired. Finally, the contrasting of the materials and colour worked perfectly to finish the product to a exceptional standard.

The final objects that caught my attention were Auguste Rodin’s Sculptures carved out of marble. What I particularly like about his work was the way in which the highly polished marble forms emerged out of the rough, uneven marble stone. You could sort of imagine the forms being born out of the stone as he carved them and I love how he left the excess marble stone visible creating a sort of plinth which merged with the forms itself. This contrast between rough and smooth was also something I liked about my first object, the ammonite (the perfection of the spiral contrasting with the random nature of the crystals inside the segments of the spiralling form). I can see that this could be a potential theme to a project later on; to explore the effects created by using a contrast in materials between perfection and imperfection



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