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To begin with the spoons. The thirty sugar-pine bodies that are seen best-dressed in bone are part of an original eighty-eight-piece pack. Fifty-two of them would be found coated in ivory. The remaining and ebonised thirty-six can be heard calling out in sharp and flat keys. Press the spoons down and listen. 

Hush.

You can hear their silenced history; a stringed instrument that accompanies a male voice choir humming hymns of a virtuous pure heart. At home with the bourgeoisie, the dust settles on their porcelain covering as they become decorative trinkets, gewgaws and knick-knacks. Listen. It is the food falling to your laps through their punctured bowls. The teeth cannot chew through fat or clasp to bones. They are ornamental now and their function clings to their former self. The processional objects have been re-authored, re-purposed, and appropriated by a new maker. Their function is reborn and obsolete. 

 

Innate to the animal kingdom is the yearn to claim something as our own: new found land, objects, old land, money, etc. Through a false narrative, the objects’ functionality and history have been claimed. They are the maker’s artefacts now, deriving from an ambiguous origin. Take a voyage using a Mozart-model flying machine and you can find the fossil directly between somewhere and nowhere.