Cellaret c. 1942

Curator: Here we have Donald Harding’s “Cellaret,” a drawing rendered in charcoal and watercolor from around 1942. It’s a study of a small wooden cabinet. Editor: My first impression is this exudes such a quiet dignity, doesn't it? Almost melancholy, like a still life of forgotten afternoons and the ghost of fine liquors. Curator: Indeed. Looking at this piece, one immediately considers the raw materials: the wood itself, of course. Likely mass-produced in its day, this piece hints at the changing landscape of domestic life. We also notice that its construction occurred at a moment when even the consumption of alcohol became politicized during World War II. Editor: I see it as something more intimate. The partially opened door and slightly protruding drawer invite us into a space filled with secrets, both sweet and perhaps a little sour. A sense of anticipation hangs in the air, as if someone has just stepped away. Curator: Harding has chosen a fairly utilitarian piece of furniture, likely a common sight in many middle-class homes during that period. What truly catches my eye is the combination of the charcoal under-drawing and the delicate watercolour. The charcoal really reinforces our idea of mass production and social class. Editor: For me, it's about the light. How Harding uses charcoal and watercolor to cast subtle shadows which breathes so much personality. Look at that knob on the drawer – its such a small detail, but the reflection is incredible. It lends a sense of palpable presence, and almost invites the viewer to reach out and touch it. Curator: Certainly. Harding has emphasized a functional, manufactured object. He subtly elevates the artistry embedded within commonplace furniture. It's a democratic form of art, drawing our focus to items consumed on a day to day basis, and making a statement in and of itself. Editor: And that statement echoes even now. It prompts a longing for the charm of those earlier years while gently nudging the viewer to be a touch more conscious about consumption and waste. Donald Harding really transformed that common Cellaret from purely mundane to magical, it’s incredibly affecting. Curator: I agree. His method of using accessible materials—watercolor and charcoal—demonstrates the artfulness present even in objects of mass production, even today. Editor: Absolutely. “Cellaret” truly blurs the line, and transforms a common wooden piece into something extraordinary that lives and breathes right before our eyes.