Written/Edited by Rita Trindade with co-research by Emma Witter
Emma Witter, an artist described as ‘part artist, part scientist, part chef, and all-around magician’ by art historian Sophie Lachowsky, has carved her artistic niche through the exploration of the alchemical possibilities inherent in copper.
Witter’s artistic process is a unique ritual, a dance with nature’s remnants. She meticulously collects and repurposes lost and drifting biomass, infusing each piece with a new purpose. Central to her practice are oyster shells, which she reveres as nature’s treasure boxes. Witter’s intuitive approach to salvaging and elevating these shells with warm copper transforms them into objects that vibrate with precious minerals.
Copper as a Medium of Artistic Expression
For Witter, copper is more than just a medium; it is a protective shell, a transformative skin that embalms and shields other objects. The potential material combinations of copper fuel her imagination, allowing her to explore and push the boundaries of her artistic expression: ‘Copper, a material that has captivated artists and artisans for millennia, holds a rich history that traces back to the fourth millennium B.C. In ancient Western Europe, craftsmen fashioned tools from native deposits of pure copper, marking the inception of this enduring medium. The allure of copper continued to transcend epochs, notably manifesting in Egyptian Blue—a copper-based paint crafted from a blend of malachite, silicate, and limestone. This vibrant pigment adorned buildings, parchments, and various objects during the Egyptian Fourth Dynasty (3000 BC), while remnants of copper-based paints from the Roman era grace the preserved artwork in Pompeii, spared by the eruption of Mt. Vesuvius.’
As the artist mentions, ‘The Renaissance era witnessed a resurgence of copper’s artistic prominence, as luminaries like Rembrandt, Picasso, and Goya incorporated copper-based pigments in their painting and utilized copper engraving plates for etchings and prints. Flemish masters of the 16th century even embraced copper as a canvas of choice, drawn to its durability and smooth surface, facilitating intricate detailing in their masterpieces.’
In The Gift – forms, and Functions of Exchange in Archaic Societies, Marcel Mauss describes copper as a powerful object of exchange in the tribes of the American NorthWest – each piece believed to have its unique characters and vibrations. ‘Decorated coppers are the most important articles in the potlach, and beliefs, myths, and a cult are attached to them. Copper is identified with salmon, itself an object of cult. But in addition to this mythical element, each copper is by itself an object of individual beliefs. Each principal Copper of the families of clan chiefs has its name and individuality, it also has its own value, in the full magical and economic sense of the word. Copper also has a virtue that attracts other coppers to them, as wealth attracts wealth and dignity attracts honors, spirit possession, and good alliances. In this way, they live their own lives and attract other coppers. With the Haida and Tlingit tribes, coppers are a ‘fortress’ to the princess who owns them; elsewhere a chief who owns them is rendered invincible. Often the myth identifies together the spirits who gave the coppers, the owners, and the coppers themselves.’
Oyster Shells as Agents of Change
Sea shells, particularly oyster shells, become vessels for Emma’s artistic alchemy, symbolizing not just protection and abundance but also peacefulness and the power of creation.
Oyster shells exhibit many mineralogical and geochemical properties, showcasing remarkable absorbability, exchange capacity, and a reactive surface area that renders them instrumental in both environmental and industrial applications. Notably, they play a pivotal role in the dissolution of contaminants in wastewater. As Emma Witter states, ‘The global issue of copper contamination in water sources raises considerable alarm, exacerbated by certain industries, particularly in developing countries, continuing to discharge copper-rich effluents. In response to this concern, China’s National Natural Science Fund Project has undertaken a significant investigation into the potential use of oyster shells as an adsorbent for aqueous copper. This research not only underscores the environmental potential of oyster shells but also emphasizes the crucial role of sustainable solutions in addressing global challenges related to water contamination.’
Delving deeper into the materials, Witter harnesses the mineralogical and geochemical properties of oyster shells. These shells, with their high absorbability, exchange capacity, and reactive surface area, find application in environmental and industrial realms. The porous and layered structure of oyster shells becomes a valuable tool in removing and dissolving contaminants, particularly copper, from wastewater.
Heavenly Bodies Series: Mythology and Material Alchemy
The ancient Greeks associated the seven heavenly bodies—Sun, Moon, Mercury, Venus, Mars, Jupiter, and Saturn—with the seven metals known in antiquity. Venus, both the planet and the Roman goddess, was aligned with copper. In Roman mythology, Venus presided over realms of love, beauty, sex, fertility, prosperity, and desire. According to mythology, the goddess Venus was born from the sea, emerging from a giant shell onto the shores of Cyprus. In antiquity, Cyprus held prominence as the principal source of copper, leading to the metal’s naming. The Latin word ‘cuprum’ finds its roots in the Greek word ‘Kyprus.’
Enthralled by the origin stories of the goddess Aphrodite, Emma embarked on a recent journey to Cyprus—a place with deep historical ties to copper. Venturing into the windy hills of the Sia district, she sought a glimpse of the remnants of ancient mines. ‘The center of the island was pregnant with copper, and the landscape bears the scars of many years of extraction and industry. Cyprus reigned as the largest producer and exporter of the metal to the ancient world for many centuries, ‘ added the artist.
The association of copper with Venus, the planet and Roman goddess, adds a mythological layer to Witter’s work. Drawing inspiration from the goddess’s warmth, allure, and malleability, Witter merges the ancient history of copper with the fossil records of oysters, creating a seamless narrative in her artwork.
The artist takes these ancient materials and combines them using a contemporary process. A pair of electric currents is employed to navigate the metal particles inside a bath of copper sulfate solution before a selection of chemicals is used to brighten and patinate the surfaces. Back to London, this ‘witches’ potion’ is brewing in Emma’s kitchen/studio/laboratory. The copper coating forms slowly, silently, ‘in their own little underwater ceremony.’ She describes it as a very feminine process – ‘unlike welding or hammering sheet metal, there is no loud noise, no abrasion, no sparks flying. The Copper & Oyster Shell’s process by Emma Witter is gentle; it takes patience and precision, playing Geisha to the metal, gently coercing it to yield and blend into a new form.’
The culmination of Witter’s artistic exploration is on display at Gallery Fumi’s subterranean space in Mayfair. Her copper and oyster shell clusters, a harmonious blend of ancient materials and contemporary techniques, form part of a winter group show, inviting viewers to engage with the tactile sculptures until January 9th. For those unable to visit in person, additional works are available online, extending the reach of Witter’s unique artistic vision.
In Emma Witter’s hands, biomaterials and copper intertwine, creating sculptures that not only captivate the senses but also bridge the realms of art, science, and mythology. Each piece is a testament to her alchemical prowess, turning the remnants of nature into timeless works of art.
EXHIBITION DETAILS
GALLERY FUMI
2-3 Hay Hill, Mayfair, London W1J 6AS
OPENING TIMES
Monday – Friday 10 AM – 6.30 PM Saturday 11 AM – 6 PM
Images: Courtesy of Thomas Joseph Wright PenguinsEgg for Gallery FUMI