Hairpin c. mid 20th century

Editor: Here we have a Kwere "Hairpin" made of wood, dating from the mid-20th century. The carving seems very detailed and intricate for such a utilitarian object. What stands out to you in terms of its construction? Curator: Looking at it materially, I'm interested in the labour involved. What kind of tools would have been used to achieve such detail in the carving? Was this work specialized, perhaps designating a specific carver within the community, thus elevating woodcarving to something beyond just functional necessity, approaching fine art through labor division and specialized material knowledge? Editor: That's a great point. It does seem more involved than simply a functional item. What kind of wood would they have used, and how might that have influenced the carving process and aesthetic? Curator: Considering that it's Kwere, from Tanzania, a dense hardwood native to the region would be logical. The density and grain of the wood would directly impact the carving techniques employed, requiring immense skill in both selection and use to avoid splitting during manufacture. Its final patina would then speak to consumption of the object, exposure to the elements, and caretaking. How does this interplay between natural resource and human skill change your initial impression of the object now? Editor: It gives me a greater appreciation for the skill and understanding of the material needed to create it. It is amazing to consider the labor embedded within each form and detail of the work. Curator: Precisely. This transforms our understanding, doesn't it? It transcends mere functionality, reflecting deep cultural and social investments within material production itself. Editor: Definitely, looking at art through the lens of material and labor reveals so much. Curator: Absolutely. It's a potent reminder that art isn't born in a vacuum, but rather from a confluence of material conditions and social practices.