Silver objects embrace their surroundings transforming them in ways that call into question all concepts of solid surface. It is a paradox, that in the very act of reflection, a silver object carries the beholder towards its unseen heart to hover in a state between real and surreal image, between stillness and motion. As a substance, silver is illusionary with a power both subtle and compelling. Disturbing sensations of ambience are called forth as we are drawn towards the warmth of our reflected world then started by the cold perfection of the object's touch, leaving the witness mark of our humanity to spoil that perfection

It is a twentieth century notion that the earlier examples of gold and silversmiths' art should be preserved for age or artistic merit. Silver and Gold plate was normally held in reserve so that whenever the need arose, it could be melted down into coin. The peak period for this activity was in 17th and 19th Century France. Some may remember the word 'silver' being interchangeable with 'coin' - "Do you have any silver in your pocket?"

An almost impossible thing for modern man to imagine is a world without mirrors. The silvering of glass produces the perfect aid to human perception, including most importantly self-perception. Our mirrored images are of course coloured, but they also acquire something of the nature of the silvered space before us that occupies another dimension. Together with photographs, the mirror provides the only way to see ourselves as others see us. Or does it? Who has not, in a contemplative mood, stared at the image in the glass only to find 'a stranger' staring back. Art and literature is filled with references to these moments of self-revelation.