As an artist blacksmith, I am driven to capitalise on the unique features that this craft allows—such as dynamic and unusual changes in the section—which I like to use to convey a sense of the uncanny through the distortion of such rigid material. I often choose to link this unique distortion to support the narrative of each piece.

My starting point for any project is always an extended research period to better inform my design decisions so I may fit the processes I am versed in around them. I believe that this is a valuable approach, which I plan to apply to all of my future work. I am currently refining my design manifesto and looking to expand my current practise by developing a more modular approach to designing with a set choice of processes to be included. I think that this will quickly lead to my adoption of a unique aesthetic style which highlights the most emotive features that artist blacksmithing can afford.

Shown here is some of my 2^nd year work at Hereford College of Arts. This is a pair of replica eighteenth-century sugar nippers along with the original, and, my finished creative response to my sugar nipper replica’s, a pair of forged box jointed bolt cutters with machined brass detailing on the rest and pommels. Finished with glass bead blasting and coated with a clear matte lacquer.