These pieces have been made using the 3D scan dowloaded from the websites of international museums. By using 3D models that are available online to anyone, like this miniature version of Saint Mary Magdalene (c. 1515-1520) by late Gothic German sculptor Gregor Erhart downloaded from the Louvre’s website, the artist poses the question of authorship, reappropriating and reproducing an artwork that was meticulously designed and crafted centuries ago by the expert hands of artisans. The head of the Magdalene has been chopped off, overturning the original piece and transforming it into a flower vase. The silver coating has been artificially tarnished by the artist to mimic a sense of age and authenticity.

Seaward contemplates the transformation of a singular historically significant object into an entity that can be infinitely reproduced. The sculptures assume the traits of imaginary archeological finds pointing to the shifts between the digital and the soon to be lost memory of an old order. To represent this shift, the artist’s employs noble archetypal metals, along with cutting-edge 3D printing technology and synthetic materials.

Seaward's practice juxtaposes the everyday, like in this case a bouquet, with hi-tech manufactured components and artefacts of historical and cultural significance.