Artists: Philip Baldwin & Monica Guggisberg
Work: Adam Smith's Amphorae, Unique, 2025
Technique: Blown and cut glass, gold leaf, metal, brass frame, mounted
Dimensions: H: 120 cm, W: 90 cm, D: 9 cm
Placement: Stockholm School of Economics
Facilitated by: Galleri Glas
Adam Smith
The Wealth of Nations
Adam Smith’s core idea was that society functions best when individuals are free to pursue their own interests. He believed that when people try to improve their own circumstances—by starting a business or developing new products, for example—they unintentionally contribute to the greater good of society. He referred to this phenomenon as “the invisible hand.”
He trusted in the power of the market. Instead of having the state control the economy in detail (as many believed at the time), Smith argued that if people were given the freedom to choose and compete, society as a whole would become wealthier and more prosperous.
That said, Smith was often ironically critical of both government authorities and business owners. Although he supported market economy, he was not naïve—he saw both its strengths and its risks.
The Theory of Moral Sentiments
Smith was both a realist and an optimist. He acknowledged human self-interest, but he also believed in people's ability to come together and create something greater—without requiring a central authority to control everything.
A Brief Reflection on Adam Smith’s Amphorae
This hanging wall piece, composed of 27 amphorae in black, gold, and transparent glass of varying sizes, is a conceptual “offspring” of the large-scale installation You, Me and the Rest of Us, which hangs in the main entrance of the Swedish Bar Association.
Adam Smith authored the seminal work The Wealth of Nations, widely regarded as the foundational text of modern capitalism. Though often misinterpreted in contemporary discourse, Smith’s writing was in fact an idealistic undertaking that extolled the virtues of what has become a global economic system. And indeed, capitalism has yielded impressive successes. However, as Isaac Newton observed, for every action, there is an equal and opposite reaction. The success of capitalism has depended on both intellect and labor—on creativity paired with hard physical work. Its consequences span from immense wealth to devastating poverty, and all shades in between.
One of the enduring challenges of modern civilization is to find a fair and sustainable balance between these extremes. This artwork seeks to illuminate the conditions and tensions that such a balance entails. The amphorae, historically used for storing and transporting goods, serve as universal symbols of commerce and trade throughout human history.
Baldwin & Guggisberg
The internationally acclaimed artist duo Philip Baldwin and Monica Guggisberg return to Galleri Glas in Stockholm with a new exhibition placing the amphora at the center. With their American–Swiss backgrounds and a longstanding connection to Sweden, they explore the cultural and historical resonance of the amphora through contemporary glass art.
Philip Baldwin (b. 1947, USA) and Monica Guggisberg (b. 1955, Switzerland) have been working together for over four decades, with studios in Sweden, Paris, Switzerland, and now Wales. Their work fuses two strong glassmaking traditions: the Swedish overlay technique and the Italian battuto method, resulting in a distinct and refined visual language.
Sweden has always held a special place for the duo—both personally and artistically. Their journey began in 1979 at the Orrefors Glass School, and Nordic minimalism continues to influence their practice to this day.
The work Adam Smith’s Amphorae by artist duo Philip Baldwin & Monica Guggisberg has been donated to the Stockholm School of Economics by alumni Dan T. Sehlberg, Gustav Bard, Filippa Lindström, Carl Hirsch, Stefan Hellberg, Sebastian Alexanderson, Eirik Winter, and Jon Åsberg.
Arranged by Galleri Glas, Nybrogatan 34, Stockholm.
