West Australian silversmith Bethamy Linton’s striking communion ware for St. George’s Cathedral embodies an unforgettable fusion of artistry and functionality, local history, bequest memorialisation, religious iconography and contemporary design.
Bethamy Linton’s workshop is situated in Gidgegannup, a peaceful location in the Perth Hills. Her great-grandfather founded the Linton Silver workshop in 1908, and the Linton’s renowned artistic legacy spans more than a century.
An acclaimed, fourth generation West Australian silversmith, for almost a year Bethamy Linton has been working on a breathtakingly unique commission: creating a set of timeless communion ware for St Georges Cathedral, Perth.
“As a crafts person I consider myself a custodian of rare traditional techniques. The time to immerse myself fully in this project has been a gift,” says Bethamy. “Having the space to dedicate to a cohesive body of work for a full year is kind of amazing.”
The bespoke creations are in response to the Patricia Pigeon bequest. Bethamy’s challenge was to successfully amalgamate and streamline a series of complex thematic elements into the final design and aesthetic.
Referencing the Cathedral’s history, Catholic iconography, and contemporary Western Australia while also including elements reflective of Dr Patricia Pigeon’s life presented a fascinating creative challenge.
The resulting all-encompassing vision, primarily of sterling silver with gilded interior, is a functional, thoughtful and visually stunning Ecclesiastical commission that celebrates the unique artistry of the platform.
A design process spanning 3 to 4 months—beginning August of 2021—included the aesthetic component, drawing, organising of tools and making of scale models in copper, and ensuring overall functionality.
Most of the pieces’ major forms involve raising the metal, a traditional artisan process, and an integral step. Silver sheet is hammered over a stake to compress the metal, bringing it up into a 3-dimensional form.
Handles, stems and bases are fabricated from sheet and wire, and then all aspects are assembled and finished by hand. Chalices, Ciboria, cruet jugs, ewer and lavabo jug were also inlaid with 18ct gold crosses.
“I cut the gold crosses from sheet by hand,” explains Bethamy. “I then carve a seat for them into the surface of the forms, before soldering into place.”
Chrysoprase sourced from a deceased estate and originating from the Kalgoorlie/Leinster area was utilised for the knops, sourced by local lapidiarists who cut and polished the stones into specified forms.
“Chrysoprase is a semi-translucent green stone naturally occurring in WA, also mentioned in the bible as one of the ten foundational stones of Jerusalem,” points out Bethamy.
“I incorporated the stone as a continuation of the uniquely West Australian nature of the commission, to speak of our earth. The colour is also significant in its symbolism.”
The commission is Bethamy’s second for the cathedral; a decade ago, she designed the white brass and red bronze handle for the cathedral’s glass doors. This marks her first commission for church plate.
“The fact these pieces will be there for as long as the cathedral stands, will enjoy a life of purpose enriched by the relationship they have directly with the congregation, is incredible to reflect upon,” says Bethamy.
Since earnestly embarking on her solo practice 15 years ago, Bethamy’s handmade artistry encapsulates an extraordinary creative journey: one founded in forebears’ knowledge, furthered by talent, vision and innovation.
Elements of the West Australian landscape permeate the tone and aesthetic of Bethamy’s exhibition and private commission pieces. Over the years she has studied art, jewellery and object design in formal and informal capacities.
Bethamy Linton has exhibited nationally and internationally, with work acquired extensively by private and public collections, including The National Gallery of Australia Canberra, and The Sydney Design Museum, The art Gallery of South Australia, and the Art Gallery of Western Australia.