Multidisciplinary artist and silversmith Morvarid Alavifard has discovered a profound sense of freedom through the manipulation of metal. Born in Tehran and now based in Sheffield, her practice is deeply rooted in self-expression - a pursuit often complex and fraught for women in Iran. For Morvarid, making is deeply personal; she likens it to “a performance, a dance,” with each piece serving as a “self-portrait.”

A graduate of the Royal College of Art, her most recent work is a collection of hand-raised silver bowls, intricately adorned with free-hand engravings and textures that shimmer and refract light, imbuing each piece with a sense of movement and life. This focus on vessels is inspired by the vibrant murals found in Iranian palaces, which depict scenes of men and women drinking from bowls and jugs - imagery that stands in contrast to modern-day Iran.

Morvarid’s considerable skill, shaped by the perspective of an empowered Middle Eastern woman, has earned her recognition at Shine 2024, the Goldsmiths' Centre’s showcase for emerging makers demonstrating exceptional talent and potential. In a recent interview, she offers an impassioned glimpse into the profound connection she shares with her craft.

Discovering the Magic of Metal
The first time I touched metal, I knew it was the material I wanted to work with - it felt magical. I was born in Iran, and I’ve been influenced by the women in my family.

I initially pursued architecture and music, but I realised that while I enjoyed these subjects, I didn’t want to pursue them as a career. I took a jewellery course and discovered that metal was a magical material to work with. This led me to travel to the UK, where I enrolled in a foundation course in art and design. Here, I saw a different cultural perspective and realised how art can influence you and allow for free thinking - something that wasn’t as prevalent back home. It was the first time I felt I could truly think freely and pursue what I wanted to do.

During my time at Birmingham City University, where I completed my BA, I took a silversmithing course in my second year and became absolutely obsessed with it. I was in the workshop from 8 am to 8 pm, and sometimes they had to kick me out because they wanted to go home! I really enjoyed it and excelled in the conceptual side of my work, experimenting with different materials and creating statement pieces that reflected my social and cultural background.

Then COVID hit, which caused me to lose about two years of workshop time. However, I eventually went on to the Royal College of Art (RCA), where I had a wonderful experience despite the interruptions. I found my true practice as an artist and creative while working at the RCA, where the freedom to explore different media and express myself shaped my work. Following that, I spent a year at Bishopsland Educational Trust to focus more on silversmithing, which I had missed during my time at RCA due to COVID-related workshop restrictions.

At Bishopsland, I also delved into the business side of things, which I really enjoyed. Later, I received a fellowship to work at Artist Space in Sheffield, where I aimed to combine my art and silversmithing. Being in that environment allowed me to pursue this blend, and I'm excited to see where it takes me.

A Family Legacy in Metal
I’ve been deeply influenced by the women in my family, who view gold as a means of financial security and freedom, especially as many of them aren’t able to work outside the home. My mum's family also had a background in goldsmithing, and she grew up in the workshop, witnessing the entire process of goldsmithing. Her stories about working with gold left a lasting impression on me and these stories were always a part of my background.

My great-grandfather was renowned for making garments for the Shahs using gold wire and metal thread embroidery. This generational craftsmanship and the stories my mum shared about her family's legacy created in me an unconscious interest in metal. It’s interesting because I initially ran away from that inclination. However, I find myself drawn back to it, and it’s fascinating how your roots can pull you back to where you started.

Personal Expression in Silver
I often say that I’m not just a designer but an artist. My work is deeply rooted in my concepts and thoughts. While I do design, my focus is on capturing a sense of freedom through my objects. For me, the process of making is akin to a performance, or a dance. The relationship between myself and metal is not one-sided; it is a reciprocal activity. We collaborate.

My inspiration falls into three categories. Firstly, my work is a means of self-exploration or a self-portrait. If I were a painter, this might be the easiest way to explain it. For me, the first time I could truly express myself and communicate freely was through metal and jewellery. Secondly, the process of making itself is a significant source of inspiration. Lastly, I am drawn to objects that attract me or create interaction. These elements shape and influence my work in distinct ways.

I wanted to research and explore myself internally, and I found that I could do this through metal. Creating is a form of self-exploration for me, a way to speak out loud through my work. Growing up in Iran, surrounded by beautiful buildings, nature, and a poetic language, all these elements influenced me. Additionally, the experience of being a woman in that environment and then moving to the UK, where I encountered different cultures, buildings, and objects, has also been a significant source of inspiration.

In regards to the second source of inspiration, the process of making itself; when working with metal, it moves with my body, and I see it as a collaboration. I engage in a kind of conversation with the metal: if I move in a certain way, the metal responds accordingly. If I make a wrong move, the metal does, too. It fascinates me the way metal moves and engages with me.

I'm starting to discover how different metals behave. Some are softer, some are harder; some require force, while others need a gentler touch. Observing these properties, especially how the metal changes visually when heated or cooled, is incredibly inspiring.

As I mentioned, my third source of inspiration is the metal itself and the objects I create. We each come from different material cultures and interact with objects in unique ways. For example, a bowl might be soothing and comforting to me, but others might not find the same meaning in it. I'm exploring what attracts me to certain objects, whether it’s their shape, how they sit on a table, or how they move. This exploration helps me understand my own responses to different materials and forms.

Cultural Inspirations and The Art of Bowl Making
The collection I’m showing at Shine is still in the development process. I’m still seeing where it will take me.  I'm working on bowls with various textures, shapes, and forms. The inspiration for these pieces comes from my visit to Isfahan in Iran, known as an art city. The city's buildings and craftsmanship are remarkable. When you walk through the bazaar, you encounter numerous artists with exceptional metalwork. The buildings themselves, especially the palaces of the Shahs, feature paintings that are quite unique. Despite the country's strong religious background, these paintings depict scenes of women and drinking. In these artworks, the central objects are often jugs, bowls, and vessels, which captivated my attention and influenced my designs.

I was already obsessed with making bowls, but that trip was the green light I needed to focus on them once I returned to the UK. I've invested all my thoughts into this work. By using silver as a canvas, I'm aiming to add value to the objects, and through hand raising and chasing, I’m infusing my emotions into the shape of the metal. I experience a sense of freedom during the creation process. It's not just about my journey. It's also important to me how others interact with and respond to the shapes of the pieces.

I don't elaborate too much on what’s inside me while I’m making because I want people to first be drawn to the work, interact with it, and form their own impressions. If they’re interested in a deeper conversation, I’m more than happy to explain my process.

Challenges and Innovation: Learning New Techniques
I think that if people have some knowledge about silversmithing, they understand it’s a lifetime achievement. Especially with engraving, it requires extensive practice - often five years of an apprenticeship to become skilled. For me, creating this collection and incorporating engraving and hand-raising were entirely new techniques. Learning each of these techniques was a significant challenge, as each shape and method required a different approach and skill set.

I developed a signature approach with two techniques. The first involves a bowl with pearls that appear to float in the air. These pearls aren’t soldered or glued but are attached by metal, making the design quite challenging. The second technique is Keum-Boo, where you typically fuse gold to silver by adding another layer. In my approach, I fused part of the gold and left the rest appearing to float around the surface. Managing these elements to complete the work was a journey.

I live through my practice. So whatever is concerning me inside, I try to bring it outside, whatever is creating pain or anger, I try to put into my work. I start with freehand engraving, avoiding preliminary drawings whenever possible. After engraving, I use different hammers to raise and planish the piece. Some bowls feature patterns on the outside, while others have them on the inside, requiring different silversmithing techniques and tools. Each bowl also has a unique finish, with varying levels of polish. Polishing is another specialism, like silversmithing, that takes years to fully master. For certain finishes, I use a technique similar to Keum-Boo, which involves bringing silver to the surface.

Many people advised against starting engraving on a flat surface before shaping the metal. However, you just need to be much more gentle with the metal. Instead of a metal hammer, you can use a mallet or plastic hammer. When planishing, I cover the surface with leather, which achieves a similar effect. I embrace this fading as part of the philosophy of the process.

Movement and Life: Creating Objects That Engage
The pieces in the collection are like a family. They are meant to be together. They work best as a complete set or even in pairs. Among them, I feel I truly achieved my vision with the first piece, the pearl one. My name in Persian means "pearl," and since my work serves as a form of self-portrait, I have challenged the use of pearls in my previous work and I wanted to bring that back into this collection.

The Gold Leaf Dish was also inspired by a previous installation of mine, where gold leaf covered the walls and floor. As people walked through, they revealed patterns beneath. Similarly, with this dish, as the gold leaf wears away, the underlying pattern is revealed. I feel that these two works exemplify the vision I aimed to achieve.

Who am I to say who can interact with my work? I believe that those who are open-minded and attentive to detail are the ones who truly engage with it. From a distance, my pieces might seem like just bowls, but up close, they reveal a different world. When you touch and look inside, you’re taken deeper into the work.

Movement is important to me; it adds character. The two bowls I mentioned earlier, despite their different shapes, move differently when placed together. One moves a bit faster, the other a bit slower, creating their own little world. This movement is attractive - it draws attention. Even in the display I created, which isn’t overly rigid, the pieces shake and move when you walk by. People have asked why I didn’t make it flat, but to me, the beauty of the work lies in its boldness and movement.

Currently, I’m working on a tumbler. It’s fascinating how the metal behaves - how the heavier bottom creates stability and prevents the water from spilling. It’s like magic.

Shine 2024: A Defining Moment
It was a pleasure to be accepted into Shine. It was deeply meaningful for me because, firstly, it marked the beginning of my professional practice, and secondly, it signalled a significant step forward in my career. Although I had some uncertainties, I believe it has helped me progress further.

I’m really excited about learning new things during the programme. While I’ve done a lot of photo and video work in the past, this is an opportunity to explore a more commercial side, which is a bit different for me. I’m eager to absorb as much as I can and see how the pop-up event unfolds. It will be fantastic to observe people’s interactions and reactions to my work. I believe challenges are a great way to grow, and I’m looking forward to this one.

I feel Shine can give me some clarity. It’s really helped me to understand the reality of the new, modern world as an artist, and how to market myself. It might not sound artistic, but I want to be able to communicate with my audience better. By clarifying what you’re doing as an artist, you’re more able to engage with others. Shine helped to build that clarification and make me understand what I’m trying to say and how I can attract the right audience, and that’s been really helpful.

Looking to the Future: Expansion and Exploration
I’m thinking about going bigger, and more experimental. I’m experimenting with different metals to create display stands for my pieces. I’ve been working with aluminium, copper, and gilding metal because they allow me to work on larger objects. Silver is quite expensive, so using these   materials makes scaling up my work more accessible, whilst allowing me to produce a similar quality of work. For example, Aluminium, in particular, has a similar colour to silver but has completely different material qualities. I use this to challenge the perceptions of the value of different materials.

I want to explore different markets, including the fine art, craft, and broader art markets. Over the next few years, my goal is to immerse myself in these various realms and experiences and introduce my work to diverse audiences. I’ve wanted to do a solo show for a long time so I am planning to do so in the next two years.

I can also find an audience in Iran, so my reach can be international, not just limited to the UK. However, I find it difficult to work out what will be appealing across different countries, but I am willing to take risks in my work, and I’m super excited for the future.