Conrad Hicks

Conrad Hicks is a Capetonian artist blacksmith, he forges gates, fences, sculpture, knives, kitchenware and furniture. Choosing a more traditional approach, all jointing is done using forge welding or riveting. Forge welding is where the steel is brought above forging temperature to white heat, placed next to or ontop of another piece of white hot steel and smashed together using either hand hammers or if the piece is large enough, power hammers.

The rationale behind using traditional techniques even though they take longer, is that you cannot replicate the look and feel of pieces made before arc welding was invented without following the same path as the old masters. A hole which is drifted looks different to a drilled hole, rivets which actually hold a piece in place look different to decorative rivets, mo matter how skillfully they are wrought.

" after I decided not to use arc welding in my designs, but rely wholly on blacksmithing techniques instead. Making this decision gave me a framework to work within and challenges to overcome, forcing me to push the boundaries of design possibilities. Imposing these limitations on myself gave my work meaning and it was in finding solutions to the problems I set, that I discovered my artistic purpose. " Conrad Hicks

I find that forging a piece of jewellery directly from the poured ingot gives me the same satisfaction. Somehow the route from smelting to finished piece speaks to the overall meaning, even if the it's not directly apparent to the observer. I think this is why I would like to leave some trace of the process in the finish.

"Keep your technique simple, but always be aware that your work reflects who you are. If you conform to mediocrity your work will never be anything more than mediocre. Your hammer marks are your brush strokes; they show how much you care for yourself and your work, and they can also reveal the opposite. Be proud of your ability to create a piece by hand, and wield your hammer with confidence. It is only through the development of self-awareness that we can create something truly unique." Conrad Hicks

Andy Cooperman

Andy Cooperman blends techniques from different smithing traditions. In his words "We benefit from the explorations and innovations of countless generations of smiths--from goldsmiths and silversmiths to blacksmiths and tinkers--who built the foundations of metalsmithing and our innovations continue that tradition of discovery."

Using many techniques from blacksmithing, his examples have become important in my research. many of his rings are forged from the ingot and not rolled to shape the way a goldsmith would normally make a ring.

http://www.andycooperman.com




Here's the groom's ring. 14k rose gold, forged and fabricated from an ingot. The little "rivet" detail is 14k white gold. Below are some images of the fabrication. Right to left: The ingot forged into a blank. Annealing. Using the ring bender to shape the stubborn and thick gold. This last image shows how the "tail" of the forging is notched so that it sits smoothly atop the rest of the ring.

You grow me like an evergreen....

I took some time yesterday to forge a bit of mild steel. I've watched videos where people forge the floral and vegetal details used in ironwork and wanted to get some experiential knowledge of these techniques. It's not as easy as it looks but it's not impossible.

Repeating these patterns on a smaller scale is the next step, as well as practising refining the larger forms.

As to coupling the pieces with poetry, I still want to do that but perhaps use a stanza and concept for an entire range. It feels like too much pressure on one piece to convey the message. Also I found I was getting too zoomed into making everything about one piece. This way, I can make several with the same theme.

The stanza I've chosen for the plant inspired metal forms is from the song Without you I'm nothing by Placebo:

"You grow me like an evergreen, you've never seen the lonely me at all"

I've chosen this line because, unlike their plant cousins, metal flowers do not wither or change once formed, making them evergreen. I also like the idea that without the wearer, the pieces would be lonely and would possibly deteriorate.

I've included some pictures of the process of forging a lily shape, the first test pieces as well as some floral metal work done by the experts.

Hey, I made stuff

It seems logical to me to start with replicating various elements from wrought iron work, that way I can tell what translates well and design with these in mind. Decorative ironwork design seems to be based on repeating elements to build up a pleasing pattern.

One of the basic forms is the twisted square bar, because iron will only twist where it is heated, it is possible to introduce two opposing twists. Silver is inherently soft compared to iron but it may not move in the same way. The test is to see if I can use heat to twist one half clockwise and the other anticlockwise.

Starting with twisting without heat, you can see the progression in the photos, from mildly twisted, to very twisted to see how far I could push it and then to heating and twisting each half individualy. The mechanics are interesting, I have to twist and pull apart slightly to keep it straight, also, when I put the opposite twist in, the first unwinds a little. In the end I was able to get a repeatable pattern which is would rate as a success. I also really enjoy rhe oxides formed when heated as they indicate the process, in order to keep that I'll have to use cold joining techniques, so perhaps I'll use it in some pieces ajd not others.

I have included a picture of wrought iron twisted bars to show the types used. 

I will use this element I'm a ring to begin with (see photo of drawing)