bondwithiron Began studying the art of blacksmithing in 1995, after learning what “all that bent iron stuff” was called. Having been interested for many years in most anything made of metal, I was informed by my dad, while examining a century-old iron fence and gate, that this craft was called “blacksmithing.” He went on to say that my grandfather (yes, here we go!), had left the coalmines of West Virginia to work in structural steel, and after losing a leg when a steel rack collapsed, became a blacksmith. He forged scrolls by the hundreds and built small gates, when commissioned. As a kid, the only thing I knew about that old anvil sitting by the barn was, don’t run into it – that pointed thing hurts! I must admit that I’ve never had those artist’s dreams since childhood of what I wanted to accomplish with metal. I just bumbled into blacksmithing after studying music, clothing design and quilting. I knew, though, when I found it, that I was ‘home’, and goals and aspirations have presented themselves along the way. I’ve been very fortunate to have had access to many wonderful smiths between California, New Mexico, Missouri, and Idaho, all of whom have had so much to offer. Besides attending Robb Gunter’s School of Forgery in 1996 and a 2-l/2 year apprenticeship with Christopher Thomson, both of New Mexico, I’ve practically had private tutoring in numerous shops and on the phone in everything from hammer re-building to gas forge building. I can’t image another trade out there that could be as kind to women as this one has been to me. A blacksmith friend of mine in Santa Fe recently made a comment about someone doing “girly” blacksmithing. I don’t know if he was targeting my work, as well. I try to be a “real” blacksmith and not just do “girly” smithing but I can’t help it, I end up doing some “girly” work – because that’s what I am – and proud of it! For me, the most fascinating thing, whether it’s a garden gate or a fire screen, is that matter is not fixed, and that includes steel. We tend to move about in this reality in a “fixed state of mind” and for me, that “fixed state” is the only limitation. The metal itself is not fixed and can be transformed into just about anything as most smiths are aware. When you think about it, the element instigating the change is always thought – an idea. Everything begins as an idea and therein lies the ability to release matter from what appears to be a solid state. I have found that the most difficult part of being in business as a smith is educating my clientele. Here in Idaho (excluding Sun Valley) there are not enough people who really know what good ironwork is. Most think blacksmithing is welding together parts out of a catalog or plasma cutouts of elk or moose welded on a napkin holder. Even though my work tends to be smaller than spiral stair railings and driveway gates, most people are at least interested when I say I’m an artist-blacksmith and that’s when it’s fun to educate them with a beautiful little mortise and tenon. People ask me, “Isn’t it a difficult way to make a living?” I think about it for a second and reply, “It sure beats a real job!”
Posted on: Sun, 30 Mar 2014 23:10:03 +0000
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