During the late 1950’s to early 1960’s I became interested in blacksmithing. A retired agriculture teacher gave me a forge and for a couple of years I burned many pieces in an attempt to create a few items. With the art of blacksmithing almost dead there was no source of training so I went off to college to pursue a career in engineering.

A few years ago I discovered the John C. Campbell Folk School and my passion for blacksmithing was rekindled. Some of the countries best artist-blacksmiths come there to teach. Also at the Folk School I came across “The Artist-Blacksmith Quarterly”, a publication that describes the techniques and tools used by the blacksmiths at the Samuel Yellin shops during the golden age of iron work of the early 1900’s. The training at the Folk School and the articles published in the Quarterly has inspired me to recreate the look and feel of vintage iron work of that era.

While arc welding has a place in iron work, it should not be obvious. A quote I read that has stayed with me and guides my work is “there is nothing that is unseen”, meaning any flaw or a joint that is not right will be seen. This hit home to me one day at a show when a man ran his finger through one of the scrolls following the collar holding the pieces together. Feeling the mating surfaces of the collar inside the table, he said “that’s the way it should be”.

Each piece is designed with traditional techniques in mind. Rivets, collars and other traditional techniques are combined with modern processes such as arc welding to recreate the look and feel of vintage iron work. Many people visiting my booth at the shows I attend comment they have not seen this type of iron work since the days of their grandfather. Comments like these indicate I’m on the right path toward recreating the look and feel of vintage iron work.

This attention to detail has allowed me to become juried in the Kentucky Crafted program, The Kentucky Guild of Artists and Craftsmen and the Sheltowee Artisans.