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The foundation of human civilization and its practical possessions have developed over time and via prehistoric experiences as a continually changing planet. While most of the population thrives in the present, they often neglect the past as a distant lore without understanding the importance it holds while reducing it to a mere series of abrupt attempts at innovation. What one observes as shattered bits of history, in the form of hieroglyphs, earthen utensils or even pieces of jewellery, are actually artefacts of moment-defining milestones in history that happened across time and only with shared experiences of the ancient communities. It is important to acknowledge these artefacts not only from the perspective of understanding the world's evolution but also from the perspective of honouring breakthroughs from the past that are often isolated, wasted or neglected. One such archaeological object is the ‘Amphora’. The alluring vessel, despite being a simple container, speaks volumes about the history attached to the people who used it and how. There has been widespread interest in this object for designers all over the world, but it has attracted the attention of legendary glassmakers Monica Guggisberg and Philip Baldwin- the legendary glassmakers that now operating from rural Wales. In a new solo exhibition named ‘Amphore Metaphore’, the couple is platforming their take on this piece of history with a series of glasswork installations. The exhibition is currently ongoing at the Musée du Verre de Conches, France and will be on till November 27, 2022. All of the exciting installations analyse the amphora as a metaphor for mankind and were inspired by the artists' visit to an amphora exhibition in Narbonne.
“As artists, we are highly engaged with history, with trying to make sense of where we come from as individuals and as part of a wider cultural community. Unless we acknowledge what’s gone before how can we go forward? No past? No future. Remembering gives us the freedom to move forward,” echo the duo on the inspiration of the collective exhibition. Marking 2022 as the United Nations-designated year of Glass , the exhibition explores the artists’ fascination with the ancient ‘Amphora’ vessels. To them, the simple vessel is the historical evidence of the evolution of design, with a perfectly well-balanced form and function.
The functional object owes its existence to not just one, but many different primaeval civilisations as old as 20,000 years. Some traces of the vessel’s functionality were spotted in ancient Greece where coarse amphorae were used for storage, transportation and even ceremonial purposes such as the Panathenaic amphorae. Alongside, the Ampulla amphorae from ancient Rome and even the amphorae from early Xianrendong caves of China from the ice age. A single object served multiple purposes across different timelines without complicating the processes. They were used to store food, for transporting different materials and were even used as urns in some cultures. Baldwin and Guggisberg were drawn towards the vessel with its gentle curves, a long neck with a pointed bottom and the certainly bottomless history it holds.
The exhibition counts special as it also marks the reopening of Conches’ newly expanded glass museum post a five million-euro redevelopment that was spearheaded by director Eric Louet. As prolific names in the world of glass art and design, glassmakers Guggisberg and Baldwin hold a special relationship with Louet ascribing a common interest in the beauty of the material and everything that it has created over the years.
Diving into the conceptualisation and representation of an important piece of history, there are nine installations comprising various glass amphorae interlaced with the designers’ rendition of different periods in history as well as their prolific practice of Muranese, Battuto and textural glass art. Headlining the entire exhibition is the great glass eye righteously titled the same as the exhibition, made up of different designed vessels, all of which are black. Even though it looks like a collective display of neutral-coloured vessels, up close it philosophically appears as an eye overlooking the entire space from a set perspective of the past and from a distance it looks like a collective gathering of people engaged in a communal meeting. Every installation blows away the minds of the observers by actively making them think about the past that they often neglect.
Furthermore, one can observe the installation of a vibrantly-coloured collection of amphorae submerged in an aquarium laying low and lifeless with the fishes. It possibly draws parallels to rich ancient civilizations that were lost over time under the vast ocean including the Israeli Atlit-Yam or the mythical Lemuria. The perception of history from the installation holds the material importance of ancient objects.
The designer-couple also displays amphorae created using abstract supermatic patterns, the apparent American flag and even a wall-hung neon glass amphora. Each of the sculptural vessels, showcase the metaphorical impact of history on the human race, further evolving into the present and also a possible future. The amphorae are tactfully placed in a way that they create alternating perspectives targeting the existence of humankind. For instance, the ‘Arsenal of Democracy’ amphora placed in the apparent backdrop of the ‘Harappan’ amphorae that despite drawing inspirations from two different timelines in the history of the world, draws similarities on a philosophical level of the past affecting the present and the future.
As designers, Monica Guggisberg and Philip Baldwin take up the task of expanding and instilling the importance of understanding the history of humanity to adapt and improve the presence of mankind. The exhibition, with all of its installations, not only sum up the beautiful works and creative oeuvre of both the glassmakers, but also establishes important learning- developing a good present and a fruitful future is only possible by engraining an understanding of the past.
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