Michael J. Saari is a master metalsmith with over 25 years of experience who has owned and operated his own metal studio and workshop in Woodstock, Connecticut, since 1981. Mr. Saari specializes in architectural hardware and sculptural metal work and has filled numerous commissions for both traditional hardware and contemporary sculpture and furniture. His contemporary metalwork has been exhibited and represented in public collections in the U.S.A., Europe, and Scandinavia with projects ranging from sculptures installed in Germany to large gold-leafed weathervanes for individual buildings.
Mr. Saari has also been a teacher at the college level, a featured speaker and demonstrator at conferences, and he offers workshops in his studio. He has written for and contributed to numerous professional publications, and he is a member of the Artist Blacksmiths of North America (ABANA) and the Society of North American Goldsmiths (SNAG).
In 1986, Mr. Saari attended the International Teaching Center for Metal Design in Aachen, Germany, where he studied under direction of Manfred Bredohl and specialized in contemporary metal design. He received a Master of Fine Arts from Southern Illinois University at Carbondale, IL, in 1996.
Since childhood I've always had an interest in metalwork and blacksmithing along with a fascination with tools--and historically, the blacksmith made the tools. But it wasn't until high school (early '70's) when I worked at Old Sturbridge Village museum, where there was a blacksmith, pewter, and tin shop (I actually worked in all three) that I found a natural talent for blacksmithing. We made things like farm tools, house hardware and accessories. It was a good experience because it developed real traditional metalworking techniques and they also had a great study collection I could access. It was a well-rounded experience: both practical and academic.
My work at OSV was a springboard for custom orders in architectural hardware and restoration work. I was also working with my father in renovating old New England homes which was helpful. It wasn't long before I got involved with the Artist Blacksmiths of North Americaand decided after college to study overseas. I was lucky enough to work with the master smith Manfred Bredohl in Aachen, Germany. Prior to going to Germany, I had a chance to work at the Samuel Yellin Studio through the Philadelphia College of Art, where I studied locksmithing with Donald Streeter. This was historical work, whereas my work with Manfred concerned more contemporary art metalwork. While in Europe, I traveled to Amsterdam, Brussels, and Helsinki to further study ironwork and learned a great deal.
I got to where I am today by working hard, staying focused, and keeping a low overhead.
Yes, my work is in collections in Germany, Finland, and the USA. Having work is public collections is recognition of talent and skill, and it's a way people can see one's work. There is a lot of satisfaction in having my work appreciated and respected in the world-wide community of blacksmithing. These are milestones in my career and, of course, it is gratifying to have one's efforts received well.
At this point, I would guess that teaching makes up about one-third of my profession. I have always enjoyed teaching, sharing knowledge of blacksmithing and metalwork, and taking classes too. The exchange is great. By the 1960s blacksmithing was just about dead, and with renewed interest in the craft (early 1970s) there was and still is a huge dissemination of knowledge about blacksmithing. Being part of this movement has been fascinating and a lot of fun. I have been involved with ABANA for a long time, and also with a number of craft schools which have been developing their blacksmithing programs. I have enjoyed meeting new people and traveling. It is important for artists to avoid getting isolated, too. All of this involves work and many volunteer hours, but it's been worthwhile. I teach at a local college and lecture for historic groups as well, which involves more academics.
Teaching has also made me a more well-rounded person, as it necessitates getting up in front of various types of groups and presenting oneself. It is important to have technical skill as well as a professional manner--you never know who will be looking at your slides.
I have been fortunate in my career. Some of the jobs and awards that stand out are receiving a medal from the International Teaching Center in Aachen for metal design (1991); inclusion in the "Metal and Light" competition and show in Germany (1997); completing 10,000 pieces of hardware for a fort restoration (my biggest and best paying job to date); contributing to a number of recent Lark books; being included in "The Contemporary Blacksmith" by Dona Meilach; curating an important show of ironwork (2001)...I am proud of many of my restoration jobs as they involve significant buildings. Some of my favorite projects were sculptures done in graduate school - they are NFS!
Blacksmiths make things out of, primarily, iron and steel. This includes things like hardware, furniture, gates and railings, sculpture and decorative items, vessels, knives, even jewelry. Art is created when the craftsman has the skill to execute an aesthetic idea. The blacksmith uses fire (via a coal or gas forge) to heat the medium (metal) and forges forms using tools (hammer, tongs, and anvil). Iron and steel are stubborn materials; by using heat you can soften the metal to plasticity where it can be pinched and squeezed into just about any shape you have in mind. Blacksmiths today do anything from fixing mailbox brackets to creating incredible sculptures. The tools and techniques have remained basically the same through time and cross-culturally. The process is very exciting, and perseverance pays off. It's not a medium for the impatient or undisciplined.
Rewards: Self-employment, planning and building my studio.
Difficulties: Self-employment, planning and building my studio.
Supporting oneself as an artist is very challenging, without a lot of support from much of the business community. Financing is difficult, explaining what you do is regular, and scheduling your time can get complicated. Being self-employed is hard enough; doing it through artwork is even harder when you are talking to a banker about getting a loan or to an insurance agent. The art world can be friendly or unfriendly - it's important to keep getting your work out there and having a positive outlook. I also pray to remain healthy and fit. On the up side, there is a great deal of freedom, and my lifestyle suits my temperament. I have enjoyed meeting interesting people through my job and working on interesting projects. The biggest reward is making a career out of something I love. I'll never retire--there are too many things to make.
Initially, I met people through my museum work. Networking is key. Almost all of my business has been by word-of-mouth.
I collaborated with Manfred in Germany, but usually work alone as far as the metalwork goes. I often work on the design aspect with a client or another artist. Right now, I am doing some metal and glass sculpture with my wife, which is working out nicely.
ABANA, Society of North American Goldsmiths, National Ornamental & Miscellaneous Metals Association (NOMMA). All are important because their publications list workshops, opportunities, events like conferences and workshops, sources for tools and supplies; they show others' work. They link artists to each other and help keep you in touch with what's going on in the field.
I don't know what "typical expectations" are. I think that people are geared today more toward making money whereas, when I started, it was more about the joy of creativity. My personal expectations? I hope to continue to support myself and live long enough to do all of the metalwork I want to do. Is it about making art or making money? Some of it depends on what you are making. Hopefully, one strikes a balance. It's work and more work.
Yes:
All are available from Norm Larson in California (there should be an ad in Anvil's Ring).
Well, it all started in the second grade... Most of school was unpleasant for me because, it turned out, I am dyslexic and spent most of my time daydreaming and getting in trouble. It wasn't until I transferred into a private school and, later on, in further education that I was steered toward focusing on my strengths - then, I started to like school. I studied history which was good background for my metalwork. I learned to love reading. I really liked graduate school and was sad when it ended in many ways. I have enjoyed all of my blacksmithing-related educational experiences.
Europe has a long history of metalwork, blacksmithing, art, and architecture. I learned a tremendous amount by being immersed in the culture. Getting exposed to things we don't have here, studying Baroque, Art Nouveau, and Renaissance ironwork, seeing cathedrals which are centuries old - it is what we read about in books here. Living and traveling for a year there brought me in touch with other artists also. I would recommend the experience and also think that there are many good learning opportunities in the States.
Most important are the desire to learn, a positive attitude, and a commitment to the work. Take as many classes as you can and see how you do. You do need to be physically coordinated and have some basic ability. Look at what your peers are doing and try exhibiting to gauge where you are in the field; being involved in a group like ABANA helps here. Can you draw? Do you love tools and working with your hands? Do you mind working alone? Are you comfortable with risk? What motivates you?
With traditional work, like hardware, which develops hammer control and basic forging skills. Trying to reproduce historical work is extremely helpful in gaining command of the material. Take a class at a craft school which has a good blacksmithing program. I also recommend taking a welding and machining class at a local night school. Best wishes.
I would ask what is the best financial deal and what does the art program have to offer. I was very happy with SIU for my type of metalwork and the work-study arrangements for my MFA. Look for schools with room for experimentation versus rigid rules for studio work, and a commitment to your area. I went to art school as a "mid-career" student, so I had some experience, knew what I wanted to look at, and was willing to dedicate a block of my life (which meant closing my shop for three years) to pursuing that.
They are not as common as, say, pottery. Many schools have metals, and they encompass blacksmithing, jewelry, sculpture... SIU probably has one of the biggest programs concerned with blacksmithing. They do forging at the University of Washington (Seattle), Wayne State University, Rochester Institute of Technology. I understand that the Rhode Island School of Design (RISD) also has blacksmithing now. In my opinion, SIU was the first to look at blacksmithing in academia largely thanks to artist and professor Brent Kington (one of the founding members of ABANA and SNAG).
I would say Albert Paley, Francis Whitaker, and Manfred Bredohl. Even though Francis passed away recently, I would like to include him. Paley has done probably some of the largest studio commissions in the world - his work is not only massive but refined. Francis started out in the traditional apprentice system (in Berlin and Philadelphia) and he stuck with it. He worked well into his 90's. He pursued commissions in beautiful forged ironwork when the craft was waning. He's been called the "dean of American blacksmiths". Manfred Bredohl of Germany was more art-school trained and fulfilled a lot of European commissions. He also created a bridge for American blacksmiths to exchange with those overseas. Through his school he has created international opportunity in the profession. They are all great artists and great men, sincere to the craft. I am fortunate to have met or studied with them.
More than there were before. Look in the "Anvil's Ring" or "Fabricator" journals and you will see ads by blacksmithing and fabricating firms looking for help (e.g., making railings, lighting, etc.). There are opportunities all over the US now if you are skilled. Some people are starting their own shops now and selling through high-end craft shows, which requires inventory vs. custom pieces for the most part.
From what I've heard, 25K + benefits and up. In many cases, there are opportunities to do one's own work in addition to work for the job, which provides additional income. It's hard to answer what people at the top are paid - anywhere up to six figures, but this could net out to four figures by the time you are through with expenses. It's more about cash flow than profit when you are self-employed. "Salary" is not really the norm.
Be diligent, answer ads, go to conferences, network. Have a good portfolio and resume.
Not necessarily. It might if you are going for a teaching job.
Many craft schools offer internships and it can be a good transition from school to work. Examples of schools would be The John Campbell Folk School, Touchstone Center for Crafts, and Penland School of Crafts.
It's been good. There has been some slowdown, but most blacksmiths are pretty busy now. I am optimistic about the future.
People are buying fine American craft. Galleries are carrying more "functional art," i.e. furniture and furnishings. The Internet is a new vehicle for the artist; consumers look at web sites now in addition to traditional venues which is a new area for us. Good work and manners are always in style. There is the equation of talent, timing, and circumstance. It is helpful to at least rough out a game plan. When I returned to my shop after SIU, I needed to re-evaluate my goals and let my customers know that I was available for them. I don't think that anyone's career moves in a straight line, which is probably for the best.
CAD has not affected me personally. The Internet is big - it puts you on the playing field with larger entities in marketing. It's a great resource and communication tool.
It depends on your market. Juggling...working capital...imports. Physical, financial and time limitations. To me the #1 challenge is finding the time to make art for myself.
I guess I would say that making art is just a part of the picture. There are many things that go into a successful blacksmithing career. There is a lot of office work, as well as studio work.
EDITOR'S NOTE: If you have any questions for Mr. Saari related to blacksmithing and/or this interview, please contact him directly through his website at www.michaelsaari.com.