Two Salts c. 1830

Editor: Here we have "Two Salts," created around 1830 by Baccarat Glassworks. These little vessels, currently residing at The Art Institute of Chicago, look like crystalline sculptures. The light refracting through all those angled surfaces is dazzling. What’s your interpretation of this glasswork? Curator: Focusing on the object itself, one is struck by the manipulation of light inherent in its design. Consider the geometry: the sharp, repeating facets across the bowls and base. They create a dazzling effect. Do you perceive how the formal qualities – the use of radial symmetry, the contrast between the solid base and the delicate, almost floral, upper portion – contribute to its aesthetic impact? Editor: Definitely, there is almost a fractal nature to its geometric quality. What effect would the designer(s) sought from such an elaborate form for such a mundane object? Curator: Precisely! The choice of clear glass is deliberate; it is devoid of pigment to not distract the gaze from form. There is nothing but its architecture. Did Baccarat Glassworks consider transparency as a medium to amplify light through the shape to create complex visual refractions and how does that notion elevate utility to fine craft? Editor: That’s a fascinating point! So, it's not just about holding salt; it’s about transforming light and space. Curator: Indeed. It transcends its utilitarian function through skillful formal execution. A semiotic perspective would focus on the object not just in isolation but as a symbol with meanings defined by their structure and difference to what is in close proximity. What would that perspective open up? Editor: That perspective on material and craft has given me a whole new appreciation for the intention that Baccarat had when crafting these glassworks. Curator: And considering how seemingly simple designs could belie a richness in its conception.