CraftBoston Presents The Iron Age Of John Rais

Spirit Ironworks, led by the brother-and-sister team Rachel and Tim Miller, specializes in fine metalwork, including blacksmithing, to create custom pieces for residences, businesses, restorations, and art installations. Their work ranges from intricate master staircase railings to custom doors, fireplace screens, and even large-scale sculptures. The company's focus is on crafting unique, handmade metal objects, often employing traditional methods while also integrating new technologies. One notable project involved an East Hampton house where they created a curved elliptical staircase with custom balusters and a polished, sanded finish. This piece served as the focal point of the home, a project that took eight months from design to completion. For a Southampton home, they designed and built a stainless steel staircase with a custom railing and a hand-hammered stainless steel fireplace screen, working with a material known for its difficulty. They also produced a 14-foot-tall door, a fireplace surround, and a driveway gate for another Southampton residence, emphasizing that every item they create is one-of-a-kind and handmade. The Millers' workshop showcases their diverse capabilities, featuring metal filigree, various finishes, steel flowers with graphite and mica powder finishes, and even gold-leafed flowers. Stainless steel is a popular material among their clients, along with custom patinas that give metal an aged appearance. They even crafted a door with 12 bronze portholes and corrugated stainless steel paneling, going to great lengths to match existing bronze hardware in the home. Their passion for metalworking originated from their childhood, with their father owning a coin store where they were introduced to heating and working metal. Tim Miller, an 11-year-old, was captivated by the art of blacksmithing during a visit to the Bellport-Brookhaven Historical Society’s blacksmith shop, inspiring him to pursue the craft. He earned a BFA in metals and founded Spirit Ironworks in 2001, while Rachel, who also holds a B.F.A., manages the business operations. The name "Spirit Ironworks" reflects their philosophy of infusing their personal spirit into their creations. The Millers emphasize that mastering metalwork takes years of dedication, involving reading, classes, and engaging in professional forums. They view their work as a continuation of their artistic pursuits, with clients often acting as patrons of their unique metal art. While Tim primarily leads the metalwork, Rachel manages the business side, a division of labor that evolved as their projects grew in complexity over nearly two decades. Their 5,000-square-foot shop houses two coal forges, power hammers, and a gas forge, supporting a team of eight workers. Beyond residential projects, Spirit Ironworks engages in historical restoration, such as restoring a 15-foot weathervane for the Vanderbilt Museum and Planetarium, and creating art installations, including feathers for a large sculpture near the Wyandanch railroad station. They also fabricated a 45-pound wrought iron bell clapper for a Jeff Koons retrospective. The company combines traditional blacksmithing techniques with modern technology, like an induction forge that uses magnetism to heat metal precisely. This allows them to create custom items such as nails for international projects. Despite the historical nature of blacksmithing, Tim believes it remains a vital craft, fulfilling a unique demand that many might not realize still exists. #SpiritIronworks #Metalwork #Blacksmithing #CustomFabrication #StaircaseRailings #HomeDesign #ArtisanCraftsmanship #HistoricalRestoration #TimMiller #RachelMiller

John Lord, a recipient of the British Empire Medal for his contributions to the flint industry, is profiled for his unique profession as a full-time flint knapper. His journey into this ancient craft began with 13 years of study at Grime's Graves, a significant Neolithic flint mine located in Thetford, Norfolk. This extensive period allowed him to master the intricate skills of tool-making from flint, a specialized form of lithic technology. Lord is distinguished as one of the few individuals in Britain who has successfully forged a full-time livelihood solely from working with flint. Following his tenure at Grime's Graves, he transitioned into producing architectural flints, primarily catering to the building industry. His work is essential for specific aesthetic and structural applications in construction. Parallel to his commercial endeavors, he has consistently engaged in lithic work, collaborating with universities and museums. This aspect of his career involves the analysis of stone tools and chipped stone artifacts, providing invaluable insights for archaeological and historical research. He describes flint as a cosmetic cladding and a prominent architectural feature prevalent across a significant portion of eastern England. He delineates the 'flint country' by drawing a diagonal line from Flamborough Head in East Yorkshire down to Dorset, indicating that the region southeast of this line predominantly utilizes flint in its architecture. His particular expertise lies in breaking these flints to expose their inner surfaces, a technique crucial for the distinctive appearance of flint buildings. This process highlights the natural beauty and texture of the stone, contributing to the architectural heritage of the region. Over the years, John Lord has been involved in several high-profile projects, showcasing the versatility and demand for his craft. A notable example is the Flint House, a commission for Baron Rothschild's estate in Buckinghamshire, which received the prestigious RIBA House of the Year award in 2015. Despite the sophisticated outcomes of his work, Lord employs remarkably simple tools. He utilizes aged hammers, akin to those found in a domestic shed, emphasizing that their correct 'temper' is key to effective flint knapping, preventing material from breaking off incorrectly. He underscores that mastering this skill demands years of diligent practice, after which the process becomes relatively straightforward. His dedication ensures the preservation and continuation of this ancient craft, bridging historical techniques with contemporary applications. #FlintKnapper #JohnLord #FlintIndustry #LithicWork #ArchitecturalFlint #HeritageCrafts #RIBAHouseOfTheYear #StoneAgeTechnology

Richard Serra's New York City exhibition, showcased at two Gagosian Gallery locations downtown, continues his exploration of oversized forged and rusted steel to create powerful, Pharaonic forms. The article focuses on key installations, highlighting their physical presence and the viewer's interaction with the artworks. At the gallery's 21st Street location, the centerpiece is 'NJ-1,' a walk-through installation from 2015. This piece consists of enormous four-meter rusted sheets of weatherproof steel, forming two semi-attached oblongs. These structures evoke the image of an industrial tanker or a ship run aground, consistent with Serra's recurring motifs. Visitors navigating this cathedral-like space experience a sense of dislocation, akin to exploring a forbidden relic of massive scale. The design of 'NJ-1' actively compels viewers to re-evaluate their relationship with the artwork, emphasizing an immersive and interactive experience rather than passive observation. The 24th Street Gagosian location hosts a different array of Serra's work, including three solid steel slab installations—'Above Below Betwixt Between,' 'Every Which Way,' and 'Silence (for John Cage)'—alongside a drawing. 'Silence (for John Cage)' is particularly notable, featuring an 80-ton forged steel slab positioned horizontally. This minimalist artwork dominates the luminous white gallery space, exuding a primitive and raw quality that confers an almost overwhelming physical presence upon the viewer. The other works in this series expand on the same thematic approach, utilizing various configurations of steel slabs to delve into the artist's concepts of weight, balance, and spatial dynamics. Among these, 'Every Which Way' stands out. This installation comprises 16 foot-thick slabs arranged on a rectangular grid at three different heights. Walking through this arrangement, visitors might feel as though they are participating in a processional movement, reminiscent of a funereal procession. This effect serves as a compelling counterpoint to the other works and to 'NJ-1,' underscoring the powerful material presence that defines Serra's art. The exhibition collectively offers a profound engagement with the artist’s characteristic use of materials and scale, inviting introspection on space and human perception. Both exhibitions, 'Richard Serra: Above Below Betwixt Between, Every Which Way, Silence (For John Cage), Through' and 'NJ-1,' were on view until 29 July, providing a comprehensive look at Serra’s ongoing artistic endeavors in New York. #RichardSerra #GagosianGallery #ArtInstallation #Sculpture #SteelArt #NewYorkArt #ContemporaryArt #MinimalistArt