Taperstick 1848 - 1849

Editor: Here we have George Reid’s Taperstick, crafted from silver in 1848-1849. It’s rather ornate for something so functional. What draws your eye to this piece? Curator: It is tempting to view it as functional, yes, but consider how Reid subverts simple utility. The eye is immediately drawn to the elaborate interplay of convex and concave forms, meticulously wrought in silver. Note how the curves of the base mirror, yet differ from, those on the snuffer, creating a dynamic visual relationship. Editor: So you see the form itself as the focus, rather than its use? Curator: Precisely. Observe the strategic placement of the snuffer. Its independent, almost anthropomorphic, form plays against the stable verticality of the candlestick. What compositional tensions are at play? Is it integrated into the whole, or set against? Editor: I see what you mean about the snuffer, it introduces a strange off-balance. And the light reflecting off the silver emphasizes every detail... the curves are really amplified. Curator: The reflective nature of the silver underscores the form's intrinsic qualities, and creates contrast of light and shadow. Would this object have the same aesthetic power if fashioned from wood, for example? Editor: No, I think the light is key to making it so... theatrical. It feels less about function and more about the beauty of its design. I’ll definitely think about how materials shape our experience moving forward. Curator: Excellent! Considering material and form in equal measure is paramount to a complete understanding of a work such as this.