One of the things I admire most about Ford is his absolute commitment to the traditions taught to him by his sensei. There is a great integrity about not just his techniques but his approach to the way of learning and teaching the subject. All aspects of Japanese thought processes, aesthetic considerations and spiritual ethos are brought to bear on any subject he chooses to portray.
"The classical tradition which I'm presenting is a coherent system that has evolved over more than 1000 years and has given birth to some of the worlds most remarkable metal art. The methods and approach of these artists were not at all simple, nor easy, and any attempt to learn from the past it is sometimes going to entail doing things the hard way to ensure we don't miss something of value. The fact is we can only begin to asses the value of each aspect at the end of the learning process, not at the start."
Ford Hallam
It is not to just be able to replicate some skill level or make objects similar in look that I wish to attain, but to walk this particular path engenders a spirit of mindful approach which I am looking to grow within myself. This approach is exemplified in both Ford and many of his students.
The making of your own tagane, punches and hammers is the start of the skills required. Knowing good heat treating, how to grind, file and sharpen chisels is essential. These skills support good carving as there is often a place in a new piece which needs a different shape or size tool.
During the period swords were banned in Japan, makers of sword fittings turned their skills towards all metal work including jewellery, box inserts, netsuke and pots. This gives a precedent to be able to work on all forms of metal, the approach and techniques used are as important as the final piece.
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