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Kathryn Hinton

MPhil work

The Craft of Digital Tooling

The tools and hand processes used in traditional approaches to silversmithing have hardly changed over the centuries. Objects are constructed using processes that involve physical manipulation and control with hand tools and, in particular, with hammers. My work focused on the use of traditional hammering methods, and information derived from this carried forward to the development of a hammer interface device that explored this particular interactivity with digital material.

The objects are realised in physical material through processes associated with computer-aided manufacture. This opens up new possibilities in alternative methods of designing and making.

MA work

Inspired by components and interconnecting units, I create cutlery and tableware that comment on the role of cutlery in different table settings with emphasis on their function as connecting elements. The pieces have an individual aesthetic, which change into new playful forms when they are brought together.

Alongside my flatware I am exploring the boundaries and benefits modern technology can have on tableware. I am currently combining digital technology with traditional techniques to recreate the technique of raising in a virtual environment. This process can open up new possibilities with relation to traditional techniques, design and production.

Info

  • Kathryn Hinton
  • MPhil

    School

    School of Humanities

    Programme

    Goldsmithing, Silversmithing, Metalwork & Jewellery, 2008–2010

  • MA Degree

    School

    School of Humanities

    Programme

    MA Goldsmithing, Silversmithing, Metalwork & Jewellery, 2008

  • The Craft of Digital Tooling

    The tools and hand processes used in traditional approaches to silversmithing have hardly changed over the centuries. Objects are constructed using processes that involve physical manipulation and control with hand tools and, in particular, with hammers. My work focused on the use of traditional hammering methods, and information derived from this carried forward to the development of a hammer interface device that explored this particular interactivity with digital material.

    The objects are realised in physical material through processes associated with computer-aided manufacture. This opens up new possibilities in alternative methods of designing and making.

  • Degrees

  • BA (Hons), Goldsmithing, Silversmithing & Jewellery Design, Kent Institute of Art and Design, 2003; MA, Goldsmithing, Silversmithing, Metalwork & Jewellery, Royal College of Art, 2008; BA (Hons) Goldsmithing, Silversmithing and Jewellery Design, Kent Institute of Art and Design, 2003
  • Experience

  • Silversmith, Richard Fox, London, 2004-6; Artist-in-Residence, Bishopsland Educational Trust, South Oxfordshire, 2004
  • Exhibitions

  • Side x Side, Edge > Edge, Contemporary British Silversmiths, Häme Castle, Hameenlinna, Finland, 2009; Effe Kijken 2 - Overcoat, Galerie Marzee, Nijmegen, Netherlands, 2009; Spoons, Scottish Gallery, Edinburgh, 2009; Contemporary Silver Making from Bishopsland, Dovecot Studios, Edinburgh, 2010; Collect, Victoria and Albert Museum, London, 2004 & 2005; TEN: 10th Anniversary Exhibition, Association British Designer Silversmiths, Birmingham Museum and Art Gallery, 2007
  • Awards

  • The Silver Bursary, The Goldsmiths' Company, 2008; Goldsmiths' Craftmanship and Design Award, 2005