This blog began way back in 2010 as a hobbyist's journal. I enjoy metalsmithing and have always loved to write. I had recently started working on marketing projects for clients and the work was still slow coming in. A little blog project seemed like the perfect way to integrate my interests and simultaneously expand my skills in metalsmithing, website design and social media.
I've been browsing through four years of posts, thinking of them like stepping stones or bread crumbs along a path that I'm still walking. There were some hits and misses on the blog, all good learning experiences.
My all-time most popular post is Happy 2013 and Tips for a Cut Finger, a story that readers often find while their fingers are still bleeding. I feel good knowing the story makes people laugh while also offering usable advice. And since misery loves company, many leave stories of their own in the comments. This month alone, Google Analytics reports almost 400 hits for that post. Unexpected!
Also high on the list are My Modified Harbor Freight Hydraulic Press, My First Green Patina Experiment, Blog Index for 5th Annual Lewton-Brain Conference (a live-blog collection), and Large Scale Foldforming with Linda Leviton, Part 1 and Part 2.
Linda Leviton recently taught a workshop on large scale foldforming at the Cultural Arts Center in Columbus, OH. Not only is Linda a brilliant local artist, but she also won Honorable Mention and two Jurors' Choice nominations in the 2015 Lewton-Brain Foldform Competition, a global event for metal artists. Learn more in Part I of this story.
Make an impression
After the wire is curved and taped down, cover your anvil surface or steel bench block with leather and place the piece on top. Using a slightly domed hammer, pound along the wire until it is evenly indented into the metal.
When you've hammered enough, the wire track will be clearly visible on the opposite side but won't have cut through. There is a little trial and error as you learn when to stop. Later if the line you made in this step is slightly too thin for structural integrity, melt some solder along the inside of the fold to reinforce it.
Cut and bend
In this clip, Linda cuts around the line left by her wire and bends the piece. Notice how the final form can be manipulated into the shape you want.
Meet some of the Students
The students in this workshop were on fire! Take a look at some pics and video clips, and see for yourself.
In late June of this year, the Cultural Arts Center here in Columbus, OH hosted a four-day workshop on foldforming. Intrigued by its focus on creating larger scale works, I visited the class for a few hours to interview the class and snap some pics for this story. The instructor was Linda Leviton, a talented local artist who creates commissioned metal installations for spaces like corporate atriums, hospitals, and universities. To set the stage... I didn't realize at the time that Linda had submitted three pieces for consideration in the 2015 Lewton-Brain Foldform Competition.
And how did that turn out? In a unanimous decision, from among entries submitted by artists in Aruba, Australia, Canada, England, Ireland, Mexico, New Zealand, Scotland, and the U.S. -- ALL of Linda's pieces were recognized by the jury.
Who judged her work? The 2015 jurors are all leaders in the international metal arts community; Charles Lewton-Brain, Artist Goldsmith and Foldforming Pioneer, Hazel Wheaton, Editor of Art Jewelry magazine, and Dr. Hanuman Aspler, Owner / Co-Founder of The Ganoksin Project. No small accomplishment -- congrats, Linda!
Here they are! Enjoy -- and then scroll down to get some tips from Linda's foldforming workshop.
Linda's four-day foldforming workshop at the Cultural Arts Center (CAC) in Columbus, OH, was a well-attended, high energy event. I collected lots of great images, videos, and tips to share. These are some pics of Linda and her students.
Large Scale Foldforming
These vertical shears are new to me so it helped to see them in action. What a great angle for cutting metal.
Modify shears to save time
Use a belt sander to smooth the cutting edges of your sheers. They will leave smoother edges on your metal, reducing the sanding your pieces require after cutting.
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Braze components together to create a larger work
In this video, Linda creates a flower by attaching a copper stem to a foldformed Heistad Cup. She uses brazing rod from a welders' supply outlet -- or in this case, from a junkyard!
Many of us working in small metals are familiar only with silver and gold solder. Brazing rod is a great solution for connecting copper pieces in a large work.
Create templates for multiples
Linda's roots are in quilting, an art form that often calls for assembling many small components into a large pattern. This design sensibility transfers well to her large scale metal installations. Linda's work is often based on patterns and repetition of smaller shapes.
Listen as she explains how she creates a template for her components and then creates multiples that match.
Quick Note About The Cultural Arts Center (CAC) in Columbus OHIO
When I signed up for my first class at the CAC about five years ago, I drove by it twice before even checking the address. Why? Because the class was so inexpensive -- well under $100 for eight 3-hour sessions -- I was expecting a run-down urban disaster running on a shoestring!
Instead, the CAC might just be the best kept secret in Columbus. Subsidized by the city, the facility is an artist's dream-- diverse, well-stocked, and expertly staffed. They offer classes in the visual arts... metal, clay, painting, fiber, and more. Kristi Kloss runs the small metals program and she really knows her stuff!
All my best,
RESULTS: 2015 Lewton-Brain Foldform Competition
“The Hoshen” by Ira Sherman
(Torah Hoshen Breast Plate: 18 in x 10 in x 2.5 in / 45.7 cm x 25.4 cm x 6.4 cm; sterling silver, semi-precious gemstones)
“Honeycomb Bracelet” by Christina Brandewie
(Bracelet: 3 in x 1 in / 7.6 cm x 2.5 cm; sterling silver, 18K yellow gold plated)
“Stovchen III” by Dan Lippitt
(Tea Warmer: 6.5 in x 4.5 in /16.5 cm x 11.4 cm; sterling silver)
“Animal Vegetable Mineral” by Linda Leviton
(Wall Sculpture: 28 in x 25 in x 3 in / 71 cm x 63.5 cm x 7.6 cm; copper, patina)
FIRST PLACE: Dan Lippitt, Madison, WI, U.S.
“Stovchen III” (6.5 in x 4.5 in) (16.5 cm x 11.4 cm) sterling silver
SECOND PLACE: Ira Sherman, www.irasherman.com, Denver, CO, U.S.
“The Hoshen” (18 in x 10 in x 2.5 in) (45.7 x 25.4 x 6.4 cm) sterling silver and semi-precious gemstones
THIRD PLACE: Christina Brandewie, www.cabbjewelry.com, Cincinnati, OH, U.S.
“Honeycomb Bracelet” (3 in x 1 in) (7.6 cm x 2.5 cm) sterling silver, 18K yellow gold plated
HONORABLE MENTION: Linda Leviton, lindaleviton.com, Lewis Center, OH, U.S.
“Animal Vegetable Mineral” (28 in x 25 in x 3 in) (71 cm x 63.5 cm x 7.6 cm) copper, patina
2015 Jurors' Choice Selections
Jurors' Choice In alphabetical order...
Melody Armstrong, www.melodyarmstrong.com, Regina, Saskatchewan, CA
“Vulva Ring” (2.7 cm x 4.1 cm x 2.1 cm) copper, sterling silver
Nick Grant Barnes, www.nickgrantbarnes.com, Silver Spring, MD, U.S.
“Damascus Panel Ring” (Size 5) 18k gold, Damascus steel, diamond
“Green Amethyst Solitaire” (Size 11) 18K rose, 14kw, green amethyst
Photos by David Terao
Holly Carter, hollycarterart.com, Richmond, CA, U.S.
“Facets” (16 in x 11 in x 11 in) (40.6 cm x 27.9 cm x 27.9 cm) pewter, acrylic, aluminum
John M. Cohea, jmcknives.blademakers.com, Nettleton, MS, U.S.
“Vest Knife” (8 in x 2 in) (20.3 cm x 5 cm) Damascus steel, copper, fused silver, mokume gane, garnets, leather, rawhide
Photos by Scott A. Roush
Melissa Davenport, Scottdale, PA, U.S.
“Vase” (6 in x 3 in x 1.5 in) (15.2 cm x 7.6 cm x 3.8 cm) sterling silver
Chelsea Dyck, www.mycreativework.ca, Calgary, Alberta, CA
“Colours of the Seasons Collar” (7 in x 7 in) (17.8 cm x 17.8 cm) niobium, sterling silver
Wendy Edsall-Kerwin, www.hammerstrokeandfire.com, Elizabethtown, PA, U.S.
“Cascade” (5.75 in x 6.75 in x 7 in) (14.6 cm x 17.1 cm x 17.7 cm) bronze, nickel, brass
Angela Fung, www.angelafung.net/paperartist, Hassocks, U.K.
“Origami Sculpture” (50 cm x 30 cm x 30 cm) laser cut stainless steel
Kerye Hartzell, artkeryeleigh.com, Richmond, TX, U.S.
“Origami Lily” (38 in x 21.5 in x 4.5 in) (96.5 cm x 54.6 cm x 11.4 cm) copper, alcohol ink
Deborah Jemmott, www.debjemmott.com, San Marcos, CA, U.S.
“Blue Bowl” (5 in x 5 in x 2 in) (12.7 cm x 12.7 cm x 5 cm) steel
Denys Knight, www.accidentalhammer.com, Bonners Ferry, ID, U.S.
“Floribunda” (13 in x 11 in) (33 cm x 27.9 cm framed) copper
Goran Konjevod, organicorigami.com, Livermore, CA, U.S.
“Shell” (4 in x 5 in x 4 in) (10.1 cm x 12.7 cm x 10.1 cm) copper
Ellen Krieger, www.ellenkriegerjewelry.com, McLean, VA, U.S.
“Caesar's Salad” (2 in x 6.5 in) (5 cm x 16.5 cm) copper, fine silver, silver foil, enamel, amazonite cabachon
Photos by David Terao
Ed Lay, www.edlay.info, El Cerrito, CA, U.S.
“FF Bowl #7” (8.5 in x 6.5 in x 3.5 in) (21.6 cm x 16.5 cm x 8.9 cm) copper, vitreous enamel
Linda Leviton, lindaleviton.com, Lewis Center, OH, U.S.
“Eve's Leaves” (4.2 ft x 2 ft x 10 in) (127 cm x 60.9 cm x 25.4 cm) copper
“Shades of Green” (6 ft x 6 ft x 1 ft) (1.8 m x 1.8 m x 30.5 cm) copper, wood, patina, dye, paint; photos by Jerry Anthony
Daniel Lippitt, Madison, WI, U.S.
“Candleholder” measures w/o candle (3.75" x 1.75") (9.5 cm x 4.4 cm) copper, enamel, wax candle
Louise Mary Muttitt, www.louisemarydesigns.co.uk, Burton upon Trent, U.K.
“Sugar Sifting Spoon” (15 cm long) sterling silver
“Twist Candlestick” (25 cm x 21 cm) Britannia Silver
Sher Novak, www.shernovak.com, Albany, CA, U.S.
“Autumn Leaves Necklace” (10.5 in x 10 in) (26.7 cm x 25.4 cm) copper, patina, leather cord
“Vine Necklace” (9 in x 8 in) (22.8 cm x 20.3 cm) fine silver, garnet, 18K gold bezel
Photos by George Post
Stella Rose Powell, www.silverfallsjewelry.com, Bend, OR, U.S.
“Beyond the Garden Gate Collection Earrings” (1.75 in x 1.5 in) (4.4 cm x 3.8 cm) 18K, sterling silver bimetal
“Beyond the Garden Gate Collection Necklace” (1 3/8 in x 1.5 in) (3.5 cm x 3.8 cm) 18k/ss bimetal, freshwater pearl
Bradley Sanders, www.bradleysandersart.com, Shepherdstown, WV, U.S.
“Rebecca the Blue Heron” (38 in x 20 in) (96.5 cm x 50.8 cm) copper, iron, patina
Hendrik Schouten, St.Cruz, Aruba
“Anemoon” (19 cm x 19 cm x 9 cm) copper, ammonia patina
Photos by Christian Schouten
Kest Schwartzman, www.vagabondmetalworks.com, Frederick, MD, U.S.
“Guardian” mask (24 in x 18 in x 10in) (60.9 cm x 45.7 cm x 25.4 cm) copper
Since I can't show you this year's entries, I thought it would be fun to share a blast from the past.
Pictured on the left is a favorite of mine -- a 2013 Jurors' Choice by the very talented Pat Downing. It's one you can visit easily, too, since it was a commission for the Westfield University Town Center mall in La Jolla, CA. On Pat's website you'll find a process video for this sculpture and more of his work.
And just to show you the diversity of entries, check out this sweet pair of earrings. The artist is Robert Fear of Auckland, New Zealand, another 2013 Jurors' Choice selection. There is something about these earrings that make you want to touch them. But alas, they are in New Zealand...
As for the 2015 results? This announcement appeared today on the Center for Metal Arts Facebook page:
The 2015 Lewton-Brain Foldform Competition is now closed for entries. Artists from nine countries across the globe submitted absolutely LOVELY pieces and an especially wide variety of art forms this year. Over the next few weeks, Judges Charles Lewton-Brain, Hazel Wheaton, and Hanuman Aspler must choose the winners and Jurors' Choice for 2015 -- a very challenging task, considering this field of entries!
Winners will be announced at the Lewton-Brain Foldform Competition Awards Dinner at 6PM on Friday July 24th at the Seligmann Center for the Arts in Sugar Loaf, NY. Join Charles Lewton-Brain for a relaxing Friday night dinner over a farm-to-table meal catered by Black Dirt Gourmet, with good food, wine, friends, and an intimate evening of conversation with this inventive Canadian arts pioneer. After dinner we drop the screen to view the winning entries to this year's annual Lewton-Brain Foldform Competition. General admission $25/ Foldforming for Vessels students $15.
EARLIER THAT DAY (just a few minutes from the awards dinner) the Center for Metal Arts will present the first day of Foldforming for Vessels with Charles Lewton-Brain, July 24-27, 2015. A few seats are left -- grab them now for the early bird discount! The Center for Metal Arts is about an hour NW of NYC. Dinner tickets and workshop registration info are here. Exciting times to come!
Sue Lacy / Lewton-Brain Foldform Competition Director
Yes, I do work for the school -- but I come by this enthusiasm honestly. I first visited CMA as a student in Charles' foldforming workshop. It's what drew me in and led me to stay. Unforgettable experience-- amazing place!
If you're considering the class, visit my live blog from 2012 and see TONS of pics and video showing Charles Lewton-Brain's foldforming workshop. It was all written from a student's perspective. In that class you left with samples -- in this one, you'll leave with vessels!
And yes, the 2015 Lewton-Brain Foldform Competition Awards Dinner is on the first night of class, just a few minutes away, catered by W. Rogowski Farm / Black Dirt Gourmet. Dinner last year was seriously delicious. And it's a lot of fun to be among the first to know the competition results!
Don't hesitate to contact me with any questions or just say hi. You can comment below or message me in Facebook.
All my best,
So yeah, Harbor Freight is always good for starting a heated discussion about cost vs. quality and you get what you pay for. No denying that. I'm super happy with some products and not so much with others. Should you decide to embark on a similar adventure, my disclaimer is that your results may vary. Be safe, be careful, do your own research-- at your own risk. This is just my story to share.
Before assembling the press, I took the two middle crossbars to Fortin Ironworks, a local metal fabrication shop here in Columbus, OH. They viewed an image of the assembled press on Harbor Freight's website, measured the crossbars, and proposed a design. Two days later the parts were ready.
The job cost $107 for labor and all that steel. So this 20 ton hydraulic press ended up costing me about $300.
This is the new bottom platen. The craftsman suggested a removable solution to retain flexibility in how the press can be used. He welded a section of large square pipe to the plate and it drops right between the crossbars of the press to keep it securely in place.
The new platens are SUPER heavy. I can't lift them. All the installation was done by someone larger.
Here is a shot of the original center section of the press. The two black X-shaped steel pieces came with the press. We decided to use them as spacers under the bottom platen but they can be set aside to make more vertical space.
The top crossbar in this image hangs from springs. The bottom crossbar height is adjustable and can be moved lower on the frame to accommodate larger work.
My plan was to cut off the round vertical rod and weld a new platen to the top crossbar. Instead, the craftsman proposed welding a pipe onto the new platen to fit over the vertical rod. I decided to go with the adapter simply to preserve the original functionality of the press. (Update 1/31/2015: is this the best design? See section A Few Notes, below.)
To install it, we placed the top platen on top of the bottom platen and then pumped the jack to lower it. Once the rod was completely in the cylinder with platens pressed tightly together, the pressure screw was tightened.
I'll update this as I work with the press.
- The jack didn't work well until we pulled it out and added fluid-- works great now. Regardless, the manual jack requires a fair amount of pumping. Electric ones do exist but I'm ok with this.
- This setup has no pump gauge so pressure is guesswork. I may wind up buying this torque handle from Potter USA but still need to contact them and ask questions. Update 1/30/2015: Kevin Potter tells me yes, this would work fine. This video explains the tool.
- Dimensions are going to vary based on the press so I won't share measurements for these square and cylindrical adapters. The steel platens are 8x12" and 3/4" thick but this size was not determined by any scientific means.
Reader Comments (Updates after 1/31/2015)
Holy moly, Batman. It turns out the best part of this project is YOU. The comments below are a must-read for anyone researching a project like this. There are some differing viewpoints but sort through them to determine what fits best for your needs. These are just a few highlights:
- Cynthia Eid, instructor and co-author of Creative Metal Forming, left some great tips on use and safety.
- Dana Evans outlined her concerns about the top platen's design. She argues for welding it to the frame for structural integrity.
- After an offline conversation with metal artist Stephen Fitz-Gerald in Santa Rosa, CA, I summarized his comments in a post under my own name below. He generally works with dies and no top platen, with the arbor intact as-is.
- Metal artist Brad Severtson left detailed suggestions below based on his own setup with this press.
- Lots more... must read!
I didn't say a word about how this press is used for jewelry and small metals. Most of you are still reading this because you already know, right? Maybe I'll show some pieces in a future post but in the meantime see this google search for hydraulic press jewelry.
When we released the pressure, each platen was securely in place and ready to go.
Pretty darn cool if you ask me :-)
8x10 soft cover, high quality paper, 47 pages-- we are so pleased with how it looks :-)
Buy directly from the CMA store or from Blurb. It's already on back order but they come in quickly.
UPDATE: There are now two editions available! The Coffee Table edition is 8x10" on high quality 140# glossy photo paper with a glossy soft cover, perfect bound. The new soft cover edition is beautiful quality too-- 8.5x11" on premium 80# matte paper with a semi-gloss cover, perfect bound. This is a link to both and this is the press release.
On August 1, 2014, New York's Center for Metal Arts announced the 2014 Lewton-Brain Foldform Competition winners. This video celebrates the winning entries and also twenty Jurors' Choice selections from among entries received from artists around the world. See the full list and winning images below the video and visit Art Jewelry magazine's special online gallery or pick up their November issue.
The information hub for this international event is here, a page filled with resources and previous results / videos. Next year's event will be the fourth annual competition, with a deadline of June 15, 2015.
“Metropolis Bracelet” (Photo by Eric Smith)
"Cross Foldformed Bracelet" (Photo by Chris Schouten)
"Strange Fountain" (Photo by Martha Benedict)
For studies in hand formed aluminum
Winners and Jurors' Choice Listings
FIRST PLACE: “Metropolis Bracelet” by Alison Antelman, Berkeley, CA, U.S.
SECOND PLACE: “Jewel Beetle” by Kharisma Sommers, Quincy, IL, U.S.
THIRD PLACE: “Cross Foldformed Bracelet” by Hendrik Schouten, Santa Cruz, Aruba
HONORABLE MENTION: “Strange Fountain” by Heather McLarty, Los Angeles, CA, U.S.
INNOVATION AWARD: Hand-formed aluminum by Noah Deledda, Tampa, FL, U.S.
Charles Lewton-Brain, Hazel Wheaton, and Alan Revere.
Art Jewelry magazine, Center for Metal Arts (host), The Ganoksin Project, Revere Academy of Jewelry Arts, and Rio Grande.
2014 JURORS' CHOICE:
“Hanging Garden Ring” by Alison Antelman, Berkeley, CA, U.S. (Photo by: Eric Smith)
“Sea Slug” by Stephanie Brohman, Iowa City, IA, U.S.
“The Inside” by Jungmin Cho, Seoul, South Korea
“Faux Diamond Necklace” by Lucy Louise Derickson, Richmond, VA, U.S.
“Purple” by Pat Downing, San Diego, CA, U.S.
“Origami Planes” by Diana Garcia, San Francisco, CA, U.S.
“Autumn’s Touch” and “Lilly Sculpture” by Kerye Hartzell, Richmond, TX, U.S.
“Still Life” and “Dignity” by Denys Knight, Bonners Ferry, ID, U.S. (Photos by Jay Ellis)
“Stolen Moments” by Ed Lay, El Cerrito, CA, U.S.
“Foldformed Granulated Cuff” by Frank Mancuso, San Francisco, CA, U.S.
“Strange Urban Jungle” by Heather McLarty, Los Angeles, CA, U.S. (Photo by Martha Benedict)
“Fluted Collar” by Sher Novak, Albany, CA, U.S.
“It Looks Like a Shell” and “Linear Foldform Bracelet” by Hendrik Schouten, Santa Cruz, Aruba (Photos by Chris Schouten)
“Echinacea Flower” and “Frilly Peach” by Kharisma Sommers, Quincy, IL, U.S.
“Tiffany Forest” by Gayle Whiteley Minjarez, Santa Barbara, CA, U.S.
“Wall Piece 2” by Roy Ysla, Bethesda, MD, U.S.
More about that show later...
What really got me out here, though, is Lewton-Brain Foldform Competition news -- it's so exciting how the event has taken off in just over a year.
... and then please scroll down and see what I've been up to lately. <grn>
Accompanying the magazine is a wonderful online gallery that includes not only the winning pieces, but all the Jurors' Choice selections too. Readers can click each entry to view the full image with description, and views are tallied right on the page.
Many of the featured artists are members of the foldforming group that I admin on Facebook. If you are a metalsmith interested in foldforming, please join us there! (Note: read the "about" page before signing up. If your Facebook page doesn't show your metal work, you'll need to contact me.)
The other news I have is about me! A couple weeks ago I accepted a fantastic opportunity... I'm now the Acting Director of the Center for Metal Arts (CMA) in downstate New York. SO jazzed about this.
No lie, I completely fell in love with CMA in July 2011, on my very first visit. Here is my post about it; my first foldforming workshop with Charles Lewton-Brain. I loved the atmosphere, the people, the caliber of education they offer-- everything. I've been working on various projects with them ever since (and the Lewton-Brain Foldform Competition might be my favorite project EVER.)
This video was one of my first projects in the new position. It's a small window into a magical place. Hope you like it.
Jurors: Charles Lewton-Brain, Hazel Wheaton, and Rhoda Weber Mack. Sponsors: Rio Grande, Art Jewelry magazine, and The Ganoksin Project. Host: Center for Metal Arts, Florida, New York. Competition Director: Sue Lacy.
FIRST PLACE: Looking Up At the Sky II, by Yuka Okane Inoue, of Lake Forest, IL, U.S.; Sterling and fine silver, Japanese alloys, diamond. 3 x 3 x 3.5 in. (7.6 x 7.6 x 8.9 cm). Photo by Guy Nicol.
SECOND PLACE: Persephone Vase, by Rauni Higson, of Caernarfon, Wales, U.K.; Britannia silver. 55 cm tall (21.7 in). Photo by Clarissa Bruce.
THIRD PLACE: FF Bowl 5, by Ed Lay, of El Cerrito, Calif., U.S.; Copper, vitreous enamel. 6 x 6 x 3.5 in. (15.2 x 15.2 x 8.9 cm).
HONORABLE MENTION: Origami Bracelet, by Gayle Whiteley Minjarez, of Santa Barbara, Calif., U.S.; Sterling and reticulation silver. 1 x 6.75 in. (2.5 x 17.1 cm).
HONORABLE MENTION: Viento en Cara, by Eva Zuzuarregui, of Carlsbad, Calif., U.S.; Sterling silver. 8.5 x 6.5 x .5 in. (21.6 x 16.5 x 1.3 cm). Photo by Seth Papac.
Blooming Basket, by Mira Benoni, of El Cerrito, Calif., U.S.; Enameled copper, electroplated copper mesh and branches. 11 x 15 x 7 in. (27.9 x 38.1 x 17.8 cm).
Untitled, by Pat Downing, of San Diego, Calif., U.S.; Copper, steel, patina. 7 x 4 x 2 ft. (2.1 x 1.2 x .6 m).
Star Earrings by Robert Fear, of Auckland, New Zealand; Copper, silver. 22 x 22 x 11 mm (.9 x .9 x .4 in).
Gathering, by Christine Finch, of Richmond, Calif., U.S.; Copper, vitreous enamel. 8 x 7 x 2 in. (20.3 x 17.8 x 5 cm). Photo by Ed Lay.
Fore-armed, by Rauni Higson, of Caernarfon, Wales, U.K.; Patinated gilding metal. 14 x 11 cm (5.5 x 4.3 in). Photo by Jan Davies.
Spinal, by Rauni Higson, of Caernarfon, Wales, U.K.; Patinated copper, 21 x 18 cm. (8.3 x 7 in). Photo by Jan Davies.
Find Me; I'm Here, by Yuka Okane Inoue, of Lake Forest, IL, U.S., Copper, sterling silver, found object, diamond. 5.1 x 3.5 x 1.6 in. (13 x 8.9 x 4.1 cm). Photo by Guy Nicol.
Rip Tide, by Denys Knight, of Bonners Ferry, Idaho, U.S.; Copper, Swarovski crystals. 7 x 10.5 in. (17.8 x 26.7 cm).
Winter Moon, by Denys Knight, of Bonners Ferry, Idaho, U.S.; Copper, silver. 2.38 x 6 in. (6 x 15.2 cm).
FF Bowl 6, by Ed Lay, of El Cerrito, Calif., U.S.; Copper, vitreous enamel. 10 x 10 x 4 in. (25.4 x 25.4 x 10.2 cm).
Salt and Pepper Shakers, by Kenneth MacBain, of Morristown, NJ, U.S.; Sterling silver, topaz, garnet. 5 x 2.25 x 2.5 in. (13 x 5.7 x 6.4 cm).
Salt and Pepper Shakers (2), by Kenneth MacBain, of Morristown, NJ, U.S.; Sterling silver, 18K gold, topaz, garnet. 3.5 x 1; 5 x 2 in. (8.9 x 2.5; 13 x 5 cm).
Por Frida, by Mary K McIntyre, of Toronto, Ontario, Canada; Bronze sheet. 7 x 5.5 x 1.5 in. (17.8 x 14 x 3.8 cm). Photo by Paul Ambtman.
Georgia's Orchid, by Mary K McIntyre, Toronto, Ontario, Canada; Bronze sheet. 5.5 x 6.5 x 2 in. (14 x 16.5 x 5 cm). Photo by Paul Ambtman.
Evolution, by Kaiya Rainbolt, of San Diego, Calif., U.S.; Steel, vitreous enamel. Six pieces; 8 x 8 x 4 in. (20.3 x 20.3 x 10.2 cm).
Leafy Sea Dragon, by Liz Reed, of Naracoorte, South Australia; Copper. Dragon height 5 in. (12.7 cm). Photo by Steve Bourne.
aSpire, by Bill Roberts, of Ocala, FL, U.S.; Aluminum. 12 x 4.5 x 2 ft. (3.7 x 1.4 x .6 m)
Zipper Cuff, by Greta Schiegg, of Cottonwood, AZ, U.S.; Sterling silver. 1.5 x 2.5 x 2.25 in. (3.8 x 6.4 x 5.7 cm). Photo by Jerome Photos.
Connexion, by Catherine Sheedy, of Levis, Quebec, Canada; Sterling silver, PVC pipe, rubber electric wire. 50 x 50 x 1.5 cm. (19.7 x 19.7 x .6 in.)
Swirling Leaves, by Susan Thornton, of Watertown, TN, U.S.; Sterling silver. 4 x 4 x 2.75 in. (10.2 x 10.2 x 7 cm). Photo by John Lucas.
The annual competition is open to artists everywhere and coincides with the Charles Lewton-Brain Conference on Foldforming. Both are hosted by Center for Metal Arts in Florida, New York. Visit www.centerformetalarts.com for more information; visit SueLacy Wired at http://tinyurl.com/8ore8nh for an extensive live blog documenting the 2012 conference in text, photos, and video.
"It is wonderful to see the beautiful objects and new developments in foldforming that are occurring. The pieces here represent the best of what is being created today using foldforming." -- Charles Lewton-Brain
If you work with metal and would like to join the official Foldforming group on Facebook, visit www.facebook.com/groups/foldforming
Sue Lacy Wired
Over time it became a quest to support & connect metalsmiths around the globe who use foldforming techniques in their work.
See how it all