Arthropoda, adorned in copper and silver by Eva Ladyman is a collection of invertebrate specimens that have been individually adorned in copper and silver regalia that serves purposes as both ornaments and prosthetics. Ladyman explores the idea of what it takes to love something that is unloveable. Within this question, she focuses on how anthropomorphism lends a hand in inter-species appreciation and how perfection is a prerequisite for adoration. 

Within her set of invertebrates, each is adorned with it’s own unique ornamentation. Decoration is often thought to be a distinctively human behaviour- there is a quality about decoration that signifies human-like intelligence and creativity, and by extension, a worthiness of respect. Ladyman adorns her insects in individualised copper and silver regalia, with each bug’s adornments reflecting their unique anatomical characteristics and flaws. The adornments encourage the audience to look closer- to give time and consideration to a creature that is often the villain by misfortune of ignorance. The specimens allow for reconsideration of innate beliefs about what seems both alien and obscure through the humanising lens of decorations. 

Arthropoda, adorned in copper and silver additionally explores what the conditions of appreciation are for an already unloved creature. The taxidermy market is a notable space in which a love of arthropods is nurtured and encouraged. The process of acquiring these insects is often described as ‘ethical’, however any amount of consideration produces questions concerning the sheer quantities produced, the types of species (especially those notoriously hard to breed) available and the perfection of each specimen that suggests premature euthanasia. 

Each specimen within Arthropoda, adorned in copper and silver was acquired deceased by the artist, having died a natural or non-induced death. Each insect has individual imperfections- missing limbs, broken wings, battle scars- that demonstrate a life long lived. Rather than disposing of the imperfect insects, Ladyman uses metalwork to recreate limbs or accentuate flaws. She questions why imperfect specimens are less valuable, and why the barrier of entry to appreciation is perfection.