Ornament 

Editor: We’re looking at “Ornament” by Master AD, made using woodcut, engraving and ink. It seems like a collection of patterns. How do you approach something that’s purely decorative? Curator: Well, “purely decorative” is itself a loaded term. I’m interested in what makes these patterns and their dissemination possible. Think of the labour involved, from cutting the woodblock to inking and printing each impression. Editor: So you’re interested in the process as a form of production? Curator: Precisely. Each print required materials, time and a skilled hand. Who was Master AD, and who consumed these ornament prints? Were they artisans, other printmakers looking for inspiration, or even wealthy patrons? What social function did these “ornaments” play, and for what? Editor: I hadn’t thought about that! It seemed…simple at first glance. But it opens up questions about trade, artistry as labour, and even class. The kind of ink or paper used surely makes a difference. Curator: Exactly. Consider also the impact of the printing press itself. The medium fundamentally democratizes design, disseminating it far beyond elite circles. The ability to replicate images alters their value and, perhaps, enables wider artistic and material experimentation. What is this printing replacing or imitating? Editor: So, we go from the finished image back to its means of production to understand its social life. I guess decorative art tells bigger stories than I first imagined. Curator: Always! By focusing on the “how” and “why” it was made, we unlock insights into the broader culture and economy of the time, not just aesthetics.