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Years spent working in an antiques centre has nurtured a true appreciation of objects, in particular Delftware, Staffordshire figurines and early Meissen. They evidence the Wests obsession with porcelain, the power of social status symbols, yet, their value and desirability rises and falls according to interior trends. They mock the illusion they once upheld, with each chip and crack in a Delftware surface cutting through the porcelain façade to the cream coloured stoneware beneath. They have become curious parodies. These majestic pieces, once story tellers enacting the etiquette and aspiration of the 18th century, now cause us to reflect upon the values of today, as if they can move forward and backward in time! It is precisely this ability of historical objects to speak about both past and present that informs my work. If we view the traditional motifs of Delftware, Staffordshire and Meissen as containing a cultural vocabulary, one that was often appropriated as fashion, it is interesting to consider what their contemporary equivalent might be. The use of kitsch pop-symbols has become a language shared worldwide thanks to emojis. Combining these with such traditional forms creates a satirical fusion, questioning the vases elite status and reminding us of their original social history as objects of desire.   Sometimes jarring and often humorous, this clashing of cultural reference is both satisfying and unnerving all at once. This body of work is homage to the continued relevance of historical objects as reflective of the society in which they are both made and viewed.

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