Today, we’re going to begin the process of introducing you to Native silversmithing. It is, in many ways, a distinct type — less for any differences in many of the basic processes used than for what it produces. Still, it’s a style all its own. [And while we’re on this very basic point, it’s only “Native silversmithing” if it’s done by an actual Native American artisan. The most anything else can claim to be is “Native-style.” The distinction is a crucial one, and failing to make it is disrespectful to actual Native artists, so please take care with word choice.]
Today’s post will be only the broadest of overviews, and in fact, it’ll be relatively brief. Next week, well begin looking at specific processes and styles of work in greater detail. I’m also limiting this series to the types of work that Wings actually does, and so it will not be exhaustive; notable omissions will include more modern, thoroughly automated processes such as laser work and industrial cutting, because he doesn’t use them. As a traditional, he considers them short-cuts that keep his hands and spirit too segregated from his medium.
Most of the processes we do cover in this series will, of course, be the sort that can used with virtually any type of metalsmithing, at least of the sort used to make jewelry: silver, gold, copper, metals both lesser and more expensive yet — these techniques may be used pretty much across the board. However, because his primary medium is silver, we’ll be looking at them through that particular metallic lens.
We have, as a matter of fact, covered some of the basics, albeit briefly, in the section of this Web site entitled About the Art:
Using a jeweler’s saw or shears, Wings cuts and shapes every piece by hand. He uses traditional silverwork processes to give form and expression to a piece: Ajouré, anticlastic raising, overlay, repoussé, and underlay are only a few of these techniques. Many pieces require extensive and meticulous soldering; some include such details as handcrafted jump-rings, bezel-set gemstones, or delicate twisted silver trim; and some pieces are highly polished, while others are given a soft patina finish.
Wings specializes in the ancient metalwork process of hand-stamping, which has a long and time-honored history among Native American metalsmiths and artisans. Stamps today are made of heavy metal dies with a design cut into the end. The silver is seated on a small anvil, and the patterned end of the stamp is placed against its surface. The other end of the die is struck with a jeweler’s hammer, transferring the design from the die to the silver.
The techniques listed are only a few of the more common ones; others include ingot work and cast work, both of which he’s done many times, although neither is his primary concentration any longer. Some require intermediate processes at various stages along the way in order to produce the desired effect. Some pieces are the result of the melding of multiple techniques to achieve a particular result. And, as with any art form, there are always variables involved for which correction may be required, such as the presence of firescale on the surface.
The images of finished pieces below illustrate a small but diverse selection of smithing techniques, to give you an idea of the sorts of effects some of them produce.
Ajouré (“Saw-Cut”):
Anticlastic Shaping:
Cast:
Ingot:
Overlay:
Repoussé:
Rolled:
Wire-Wrapped:
Over the course of the next few weeks, we’ll look at all the techniques illustrated above and more, along with technical processes like annealing and soldering, and artistic effects such as hammering and chasing, among others.
Next week: the basics of cutting and stampwork.
~ Aji
All content, including photos and text, are copyright Wings and Aji, 2015; all rights reserved. Nothing herein may used or reproduced in any form without the express written permission of the owners.
