"Sun Feather Bed" was a project I undertook in 2006. The customer wanted a distinctive bed frame for a queen sized bed in her home in Lindsay ON. Originally looking over past work and the section 'On Custom Design' from this web site, she had already decided that the natural lines seen in other work was the kind of thing she wanted. The decorating taste in the rest of the house was almost Japanese - clean and uncluttered with limited pieces showing bold designs. For that reason what we worked up was not a traditional rectangular design, but one that used a spray of aggressively forged elements as the headboard. The thumbnail sketch I had made for a potential display railing that was never built (from 2005) was the starting point. A first run of potential designs was slightly reworked to the final layout chosen.

The major elements making up the headboard were forged from 1 1/2 inch angle iron. The resulting shaped 'feather' has come to be one of my signature forms. One of the requirements of the customer was that the art work part of the design stand up about 12 inches above the level of the mattress top. In use a double line of pillows would rest there and she wanted the decorative work to remain visible above this. The forge work was finished with coloured paint, a very dark chocolate brown as the primary colour. This was highlighted inside the feathers with a wash of sprayed copper. At the foot of the bed there was no large head board. Instead the bundle of forged and wrapped tubes from the initial design was used to create the two legs, adding interest without detracting from the dramatic effect of the headboard.

'Celtic Spirits' is a combination table or bench that was created in summer of 2005. Continuing my interest in ancient artifact, the inspiration for this piece comes from the standing figures from a Celtic Iron Age object (seen at left). The artifact was a bronze couch, supported by wheeled figures (shown in the middle image). Each of the four legs is an interpretation of the figures, rendered in forged tubing. The design is completed with tendril wrapped rods. The angle iron upper frame holds a cut piece of natural stone. The result is can be used either as a small table or bench - suitable for use indoors or out.

The inspiration for this piece started with seeing fish skeletons washed up along a bearch. Imagine a series of curved ribs, linked along a spine. But here the creature has not yet develped a boney spine like modern animals, but instead has a cable like nerve cord, twined together to permit maximum flexibility. The individual ribs are made from aggressively forged flat bar. To finish, the metal is painted a dark chocolate brown.
Initially the piece had as a top a heavy piece of solid pine, some three inches thick. On the advice of friend and fellow smith John Burton, I replaced the massive slab with a thinner wide plank of African Paduk wood. One end of the plank had been eatten away by termites, a distortion that adds to the primitive feel of the table.
The finished table stands about 18 inches tall, with the top about 15 inches wide by 48 long (38 x 40 x 120 cm)

The second piece is a small wall mounted table, created in 2003. Again a stone slab forms the table surface. In this case the stone is polished smooth and finished with linseed oil. The lines of the supporting frame were inspired by the swirling lines inside the stone itself. Here the shapes are rendered in the Art Nouveau style in heavily forged bar and channel. I envisioned this table being mounted in an interior hall - or just outside by the door. Someplace to put the phone and car keys inside, or hold that tray of drinks while you get the door open! The piece was displayed and sold through Macnamarra's galley in Paisley

I had wanted to expand my regular line of small decorative items to include a few larger items, away from the predictable line of candle holders.
The first small wall mounted clock continues my work with forged copper. Here a piece of 1/8 inch thick copper plate has been worked hot. This both allows for drastic shaping of the surface, as well as distinctive texturing. This has been further enhanced by the application of a chemical patina. The clock mechanism is battery powered. Created specifically for the 'Traditions & Innovations' show in 2003.
The second clock shown here was also the first of this type I made (9/97). The small clock face was ideal for bracketing in curved rods, plus allowed for freedom to add other decorative elements.
After some research into sources, I decided to work with the larger clock face seen in the third piece (2/98), which I could get as a standard supply. Due to the size, the forged elements are less dominate.

Just as an example! This is an unrealized project, for a table lamp. I had envisioned the shade formed from hammered copper sheet. Maybe use of hand blown glass, working in conjuction with another artist? The piece would have been quite large, perhaps three feet or so tall. Light would splash upwards. Just a hint of the possibilities of custom forged work for unique lighting.

Over the years I have created a number of small to intermediate lamp / candelabra combinations, but I find I'm a bit short of reference images. Some larger projects can be seen in the candleabras section.

Just as an example! This is an unrealized project, for a table lamp. I had envisioned the shade formed from hammered copper sheet. Maybe use of hand blown glass, working in conjuction with another artist? The piece would have been quite large, perhaps three feet or so tall. Light would splash upwards. Just a hint of the possibilities of custom forged work for unique lighting.

Over the years I have created a number of small to intermediate lamp / candelabra combinations, but I find I'm a bit short of reference images. Some larger projects can be seen in the candleabras section.