Art Metals I
with Jeffrey Clancy
About this Course
In Art Metals I, we will explore basic jewelry techniques. Additionally, we will build into metal fabrication dealing with piercing, soldering and forming.
The Metals program at UW-Madison, one of the oldest and most respected Metals programs in the country, challenges students to learn about the making of art through specific materials, techniques, history, and the cultural meaning of metalsmithing and jewelry design.
With approximately 4,500 square feet of instructional and studio space our facilities include acetylene and propane torches; annealing booths; band and jig saws; centrifugal and vacuum casting equipment; digital projectors; enameling and electroforming equipment; flex shafts at every work station; a gas forge; a large selection of anvils; hammers and stakes for raising, forming and forging; lathes; milling machines and drill presses; mold making equipment; a dedicated polishing room; rolling mills; a sand blaster; sheet metal working equipment; shears; spray booths; spray etchers; and a full complement of hand tools.
June 12 –
Meet Your Professor
“As a practicing metalsmith I am part of a venerable lineage of smiths who have demonstrated stunning skill and innovative design in the manufacture of treasured utilitarian, ceremonial and decorative metalwares. This is paramount for my work and identity. I am invested in questions about preservation and the acquisition of craft skill. The austerity of utilitarian wares produced by the Roycrofters and the unapologetically indulgent works of Faberge demonstrate the diversity that the skilled and tooled hand can bring to a material like metal; this is both curious and inspiring to me. My work departs from the diverse curiosity that serves as both the physical subject and context. I mine the field’s history, examine and dissect it with uneasy reverence and then re-present it into new objects, images and, always, new questions. Domestic objects like bowls and trays, parts of utilitarian objects such as spouts and handles, and ornamentation are all used as a familiar language; but the work transcends function and often the final object has only a likeness to its source. The work acts as a vestige of another time period, a distant place and a different set of values that now seem anachronistic and nostalgic. My making process is very intimate, holding my work closely and deftly using tools and techniques. I also reserve the position of a critical observer, skeptical of nostalgia and fevered by discovery. These two positions have fostered a sincere and passionate perspective on the field, my identity within it and my responsibility to make, study and preserve it.” Visit his website >