During the late 1950s, while on a sojourn at an industrial smithy, I was introduced to the hot forging of iron and irrevocably succumbed to its magic. But as the last die-hard forges were closing down, my profession followed a different direction and not until the early 1980s did I venture to use hot iron as a creative medium.
While fully aware of the many possibilities of working with iron, I prefer to resort to the traditional forging methods. Even though hot forging is time consuming and costly, the immediacy of the very process promotes artistry of unequalled aesthetic vigour and it is this quality that ensures its survival on the art scene.
I prefer to design my own work, usually beginning with a roughly sketched idea or inspiration, and after numerous elaborations I prepare a not too detailed to-scale drawing. After careful planning of the various stages, I begin with elemental parts, but soon become totally absorbed in the spark-flying flurry of free hand forging, relying on the artist within to resolve smaller details as they arise.
I endeavour to keep my work fluid and forever changing - I call it PAINTING IN HOT IRON. I am forever delighted by the infinite variety of the work of past and present masters and grateful for their inspirations and encouragement.
Australian Craft Show: Canberra, Melbourne, Sydney
Celtic Studies, University of Sydney
"Real and Forged", Metal Art exhibition, Jam Factory, Adelaide
Glenaeon Craft Expo, Middle Cove
Contemporary Outdoor Furniture, Cuppacumbalong, Canberra
Australian Contemporary Art Fair, Stephanie Burns Fine Art Gallery, Melbourne
Iron Corroboree, Braidwood