Materials: Argentium Sterling Silver
Dimensions: 4" tall, 2.5" diameter
I am fascinated by the way that metal that has been textured and/or patterned changes when the metal is formed by deep-drawing in a hydraulic press. This vessel is one of a series exploring the patterns created by deep-drawing microfolded (corrugated) metal. I am entranced by the way the folds pull together elegantly---hence the title for this series: "Convergences".
Process:
-Sterling silver sheet was microfolded (corrugated) in a microfold brake. After annealing, it was microfolded again, at an angle to the first direction.
-Each sheet was sawn into a circle.
-Each circle was deep drawn in a hydraulic press to make cylindrical forms.
-The forms were trued and gently flared with mallets and steel stakes.
-The center section was formed (anticlasted) with hammers, mallets, and stakes. The rim was carefully formed and fitted. Soldering these to the textured vessel was tricky---getting the alignment right, and making sure that the solder did not fill the texture were exacting procedures.
-The sterling silver is a new alloy containing germanium, which is called Argentium Sterling. The germanium replaces some of the usual copper. This gives the metal tarnish resistance as well as fire scale resistance.
Photo credit: Cynthia Eid
Cynthia Eid
Lexington, MA. USA
The paradox that a "soft", fluid-looking metal form has evolved from flat, stiff rectangles though my force, determination, and tenacity fascinates me. I am entranced by the metal's progressive mutations --- through hammering, persuasion, and struggle --- from a lifeless plane of metal toward an object of vibrancy, unity and fluidity.
The forms of the objects I make have their roots in my gardens, and my meanderings through the woods and along the water's edge. It is difficult for me to take a walk without lining my pockets with rocks, shells, leaves, and twigs. These souvenirs fill the windowsills of my studio. The allusions to nature are intentionally ambiguous, to encourage interactive response and contemplation by the viewer. The similarities to nature occur through my subconscious sense of beauty and methods of moving metal, rather than through conscious study or design. Experimentation, a sense of play, and serendipity play large roles in the designs of my work.
Materials: Argentium Sterling Silver
Dimensions: 4" tall, 2.5" diameter
I am fascinated by the way that metal that has been textured and/or patterned changes when the metal is formed by deep-drawing in a hydraulic press. This vessel is one of a series exploring the patterns created by deep-drawing microfolded (corrugated) metal. I am entranced by the way the folds pull together elegantly---hence the title for this series: "Convergences".
Process:
-Sterling silver sheet was microfolded (corrugated) in a microfold brake. After annealing, it was microfolded again, at an angle to the first direction.
-Each sheet was sawn into a circle.
-Each circle was deep drawn in a hydraulic press to make cylindrical forms.
-The forms were trued and gently flared with mallets and steel stakes.
-The center section was formed (anticlasted) with hammers, mallets, and stakes. The rim was carefully formed and fitted. Soldering these to the textured vessel was tricky---getting the alignment right, and making sure that the solder did not fill the texture were exacting procedures.
-The sterling silver is a new alloy containing germanium, which is called Argentium Sterling. The germanium replaces some of the usual copper. This gives the metal tarnish resistance as well as fire scale resistance.
Photo credit: Cynthia Eid
Cynthia Eid
Lexington, MA. USA
The paradox that a "soft", fluid-looking metal form has evolved from flat, stiff rectangles though my force, determination, and tenacity fascinates me. I am entranced by the metal's progressive mutations --- through hammering, persuasion, and struggle --- from a lifeless plane of metal toward an object of vibrancy, unity and fluidity.
The forms of the objects I make have their roots in my gardens, and my meanderings through the woods and along the water's edge. It is difficult for me to take a walk without lining my pockets with rocks, shells, leaves, and twigs. These souvenirs fill the windowsills of my studio. The allusions to nature are intentionally ambiguous, to encourage interactive response and contemplation by the viewer. The similarities to nature occur through my subconscious sense of beauty and methods of moving metal, rather than through conscious study or design. Experimentation, a sense of play, and serendipity play large roles in the designs of my work.