Finch 1740 - 1750

Editor: This delicate sculpture is called "Finch," created sometime between 1740 and 1750 by the Chelsea Porcelain Manufactory. It’s porcelain, and incredibly lifelike! It makes me think of springtime. What formal elements strike you when you look at it? Curator: The initial element that captures my attention is the use of porcelain itself. The material inherently connotes a certain fragility and refinement. Notice how the smooth, unbroken surface emphasizes form, leading the eye through the sculpture's undulating lines. Consider also the implications of monochrome - the absence of color shifts the focus entirely to texture and contour. Editor: That's fascinating, I hadn't thought about how limiting the color palette can actually emphasize the other design elements. Do you think the piece conveys a particular message? Curator: In considering possible 'messages' let us reflect upon the fact that the figure is carefully posed on a faux-naturalistic base, thus encouraging reflection on the role and status of nature and the 'natural'. To consider also, how this placement affects not just the bird itself, but invites one to examine the structural framework in relation to our perception. Editor: I see, so it's less about direct symbolism and more about how the materials and composition play with our ideas about the natural world? Curator: Precisely. One might even see the stark whiteness as a statement against the riotous color found in nature, inviting consideration on what exactly nature consists of, both as subject, as a referent for artifice, and a symbol of wealth and prestige. What aspects do you feel resonated most? Editor: For me, understanding the deliberate use of porcelain to guide our focus on form and texture has really deepened my appreciation of the piece. Thanks for opening my eyes! Curator: It has been my pleasure; examining the formal choices available to an artist will consistently offer fruitful opportunities for understanding their art.