And Now For Something Different.

[Ford Hallam]

Some you you will have seen this work of mine over the past year or so. It was originally concieved as an entry for the annual NBSK Shinsaku competition but I was hesitant to complete the last touch as it was a bit of a gamble. That being the treatment of the shakudo plugs in the kogai-hitsu. It's done now and I'm satisfied with the result. It'll be in Tokyo on friday for judging next week.

 

This is the accompanying 'statement' I sent with it.

 

A study in textural and compositional contrasts.

A tsuba called ‘Shinsei’ 新生

This tsuba is made from nails that came from a 120 year old Japanese farmhouse. The pieces were forged together loosely so that the grain of the material would be visible when the tsuba was finished. The shakudo plugs in the kogai-hitsu are of a shakudo alloy based on analyses of Momoyama period shakudo. The shakudo has been etched with acid to reveal the inner structure of the material. I call this nama-shakudo.

By using metal in this way I want to show that it has an inner life that can become part of the expression of 21st century tsuba art.

The shape of the tsuba is strongly influenced by the dynamic forms of Shigaraki pottery whose powerful shapes are a very direct and honest expression. I want to try and find a way to make things in metal in the same uninhibited way. To my eyes Shigaraki ware seems ancient and contemporary at the same time. It feels as though it gives me permission to be more bold in the way I conceive of my own creations within the Japanese tradition, of which I am always respectful and mindful.

On this organic and irregular ‘canvas’ (my tsuba) I have carved in very shallow relief (sukidashi-bori) as delicately and directly as possible some fine reed grass. I wanted the grasses to be a strong contrast to the strength of the tsuba itself but also for the composition to harmonise with the ground and the rim (mimi) out of which is grows.

The butterfly is common in Japanese art. In European art it may represent rebirth. In this tsuba some old steel from long ago finds new life. The butterfly is inlaid in fine gold (jun-kin) and green gold (ao-kin).

組織と構造の対比の研究
 
鍔「新生」
 
この鍔は，ある築120年の日本農家の鋲で作られている．鋲のかけらは，鍔の完成時に素材の粒が見えるように緩く鍛えられた．笄櫃を塞ぐ赤銅の栓は，桃山時代の赤銅の分析に基づいた赤銅合金である．赤銅は，素材の内部構造が見えるように酸で食刻した．私はこれを生赤銅と呼ぶ．
 
金属をこのように使うことで私は，この鍔が21世紀の鍔の芸術の表現の一部となり得る内なる命を秘めていることを示したい．
 
この鍔の形は，信楽焼の直接的で正直な表現であるダイナミックで力強い形に強く影響されている．私は，この率直な方法での金工の方法を試し，見つけたい．私には，信楽の作品は古典的であると同時に現代的であるように見える．まるで，私が常に尊敬し心に留めている日本の伝統における自分自身の創造に従って思いつく道をもっと大胆に進むことを許してくれているかのように感じられる．
 
この有機的で一風変わった「キャンバス」（私の鍔）に，私は可能な限り繊細で直接的に，細かい葦の草の鋤出彫を彫った．葦は鍔そのものの強さへの強い対比を意図したが，同時に，地と，葦の育つ耳を調和させる要素とした．
 
蝶は日本の芸術でよく使われる．ヨーロッパの芸術では，蝶は時に新生を意味する．この鍔では，昔の古い鉄が新しい命を見つけている．蝶が純金と青金で埋め込まれている．

 

 

 

regards to all,

 

Ford

[Barrie B]

Very nice.. Good luck; we all hope you do well. I love the subtlety of the ao-kin BTW.. 

 

Barrie.

[Brian]

Perfection.

 

 

Brian

[cabowen]

I think the plate captures well the organic movement and form of good shigaraki ware or zen calligraphy, in steel...Little did those humble nails know they would someday return as something so sublime. Good Karma indeed.....

 

Personally, the plate alone would have been enough for me but the decoration adds yet another layer of depth to the story.

 

Bravo Ford!

[Jean]

Merde for the competition :-)

[kissakai]

Hi

Seeing this tsuba a month or so back I can say it is breath taking

The mimi is spectacular so I wonder if Ford has an image of the side he would post

Seeing how the nails are almost visible from the side is amazing

Good look next week

 

 

Grev UK

[Ed]

WOW!! I must say Ford, that this tsuba is magnificent to my eye.  Perhaps my favorite of your work to date.  

 

I think my reaction is related directly to the plate and it's texture.

After viewing the photos several times and before reading the following posts, I was thinking the same as Chris, you had me at the plate alone.

 

The way you carved the reed grass without adding any color, again a perfect compliment to the plate.

 

You expressed some concern with the hitsu ana plugs, my personal feeling is the texture applied compliments the plate superbly.  

Having traditional smooth plugs would have detracted from the look of the plate IMHO.

 

The small butterfly in gold is just enough to grab the eye and draw you in.

 

Don't mean to ramble, but  I really like this one.

 

I wish you the best of luck in the competition.

 

Great tsuba.  Here's to you.     

[Ford Hallam]

Thank you all very much, Gentlemen. It's always good to hear that what I'm persuing resonates with others.

 

[jlawson]

I have to also agree and Ford you should post a photo of the mimi if you have a chance, it is really great. I think it looks so different with the textured plugs as well and applaud you for that choice, it made a huge difference. I thought it was fantastic before but I guess it it fantastic + now. Best of luck on the competition as this one is a bit of a game changer and think it will raise many eyebrows. I think you have a winner there.

[Ford Hallam]

Cheers James. And just think, if it was in Texas now I'd not have been able to improve it

 

as requested, some images of the edge. Not the greatest angles, I was a bit rushed, but hopefully you'll get a sense of the structure of the material.

 

[Brian]

Merde for the competition :-)

 

First time I have heard that means good luck. But looked it up, and apparently it does

 

Brian

[Jean]

Yes Brian, means good luck for French people, wishing good luck in French is bad omen