The Family Silver

In Cornelia Parker’s Rorschach (Endless Column III) 14 flattened silver-plated domestic objects, are suspended on wires in a horizontal line, hovering a few inches above the floor. All the objects – including a candelabra, a fruit basket and a ladle – have been squashed by a 250 ton industrial press.

Standing in front of her stunning sculptural installation, purchased by the GAC in 2009, Cornelia Parker gives a revealing interview about what motivated her to make the work. She explains why she chose the particular silver-plated pieces, where she collected them from and what made her pulverise them with an industrial press.

Cornelia Parker podcast

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Emphasising that these are silver-plated objects not silver, Parker explains that they are the kind of pieces that people tend to give to commemorate occasions such as weddings, anniversaries and retirement – this is silver that we all have in our lives.

Cornelia Parker was born in Cheshire. She trained at Gloucester College of Art and Design, Wolverhampton Polytechnic and completed her Master of Fine Art degree at the University of Reading. In 1995, she collaborated with performer Tilda Swinton in The Maybe, an installation for the Serpentine Gallery. She was nominated for the Turner Prize in 1997 and a major exhibition of her work was held at the Serpentine Gallery, London in 1998. In 2001 she was commissioned to produce a sculpture for the new British Galleries of the Victoria and Albert Museum. Two major solo shows of her work were held in 2008 at the Ikon Gallery, Birmingham and at the Whitechapel Gallery, London.



Related Pages

GAC Exhibition: Richard Of York Gave Battle In Vain, curated by Cornelia Parker