Featuring the work of:

Caz Bently
wood block prints
Daniel Bernyk
metal scuplture
Pat Burns-Wendland
hand spun weaving
Scott Caple
illustrations
Larry Cluchey
wood turning
Catherine Crowe
enamels
Dark Ages Re-creation Company
living history
Sandra Dunn
& Steve White
metalsmithing
Dianne Edwards
marquetry
Kelly Green
wood carving
Allison Hamilton
painting
Lydia Ilarion
fine metalwork
David Ivens
metalwork
Lloyd Johnson
forged metals
Mary Lazier
ceramics
Elsa Mann
ceramics
Darrell Markewitz
forged metals
Rosemary Molesworth
ceramics
Kelly Probyn-Smith
metalwork
Mark Puigmarti
forged metals
David Robertson
forged metals
Brenda Roy
fine metalwork
Rob Schweitzer
tablet weaving
Graeme Sheffield
forged metals
A.G. Smith
illustration
Steve Strang
painting & drawing
Ruth Swanson
ceramics
Kathryn Thomson
blown glass
Mark Tichenor
ceramics
Laura Travis
stone carving
Catherine VamVakas Lay
blown glass
Sara Washbush
fine metalwork
Brigitte Wolf
stained glass

Sandra Dunn & Steve White
TwoSmiths
175 Borden Ave. S. Unit E.
Kitchener, ON
N2G 2Z3
519 571-9538
www.twosmiths.ca

After completing a degree in Fine Art at the University of Waterloo, Sandra Dunn began blacksmithing full time in 1996. In 2000, coppersmith, Stephen White, joined the business. Together, the two smiths hammer, forge and fabricate a variety of both functional and sculptural pieces ranging from copper clad doors, a bicycle powered musical instrument, to large driveway gates.

'Sheep Cauldron' hammered copper and forged stainless steel $5000.00 The idea for this piece arrived while I was researching the history of blacksmithing. In his book, Science for the Citizen, Lancelot Hogben describes how when humans began to practice animal husbandry, in particular sheep, they started to pay close attention to the cyclical motion of the patterns of stars and the moon and thus formulated calendars. Because sheep give birth in the spring it became necessary to predict when this would happen. The first iron that was forged was meteoric iron —basically fallen stars. So at the edges of my mind this idea of baptismal font for the birthing of blacksmithing came about. An event inspired by sheep and stargazing: the rams horns which spiral around as they grow symbolizing the spinning universe and referencing the vegetable forms that ironwork seems to inevitably take on as though infused with the spirit of the fuel (compressed biomass) that heats it in the forge. Everything we make, in a sense, comes from the ground — the ore, the fuel — it’s all goods from the grave.