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Max Bainbridge’s 'The Last Supper' places the humble spoon in the centre of a statement artwork and celebrates these simple utilitarian objects which seem to hold great significance throughout history.
“One cannot get away from the fact that these objects are inherently domestic; that we identify with them on a human level; something to cook with, to eat from and to feed our children with. This creates a unique connection that we all have with the spoon, that allows them to act as vessels for our own narratives and histories."
Max looks past the limitations of ‘function’ allows me to focus on the material, as well as the meaning of these carved objects, carving out different shapes and profiles as he would do when making a turned vessel or hollowed tree sculpture. As part of the installation, he has also cast two wooden spoons in pewter reinforces their sculptural qualities, whilst referencing historical treen and hand worked archaeological finds.
Materials: Ebonised sweet chestnut, linseed oil and pewter on oak and blued steel nails
cm: Height 60cm Width 208cm Depth 10cm
inches: Height 23.6in Width 82in Depth 3.9in
Care Instructions: Wipe with a lint-free dry cloth
The spoon is an object that Max comes back to periodically in his practice. It has always played an important role in how he approaches wood. When he started carving wood by hand, the spoon was the object he went to first and it is still something he looks to when starting a new body of work. Whether that’s a collection of turned vessels or large
scale sculptures, he will make a spoon from the offcuts. It’s a good gauge of how the material is going to behave, how well it cuts, the moisture content and if it's going to move and distort.