Scott Lankton, USA

Dear fellow smiths,

I am very pleased to be here with you all here in Cloppenburg. Thank-you Alfred Bullermann, the sponsors, and all of the people of Cloppenburg who have worked so hard to make this Congress possible. A special thank-you also to Manfred Bredohl who was such an important teacher for me in 1985. Without his influence, I would not be here today.

It is communication that brings us closer together on this planet. The translators help to make this possible, thank-you. It is true that we do not all speak the same language, but we all "speak" blacksmithing and metalwork.

Most of my presentation will be about the making of one skulptue. I will first show you some slides of my work over the years so that you can have an idea how I came to this point. I began my metalworking by making jewelry at age fourteen. Later, Robert Engstrom was my teacher. In time I developed an interest in making pattern-welded or damascus knives and swords. In 1989 I was commisionned by the British Museum in London to make a reproduction of the Sutton Hoo Burial Sword, which is displayed there. In more recent years my work is mostly architectural ironwork such as railing, gates, and fireplace tools, et cetera. I had done some sculpture before but the work I will describing next was my first major commission of this kind.

This sculpture began as the idea of a Doctor who treats cancer patients, Dr. Bill McLaughlin. His idea was to build a cancer treatment center that would involve the whole person: body, mind and spirit. To do this as special large circular glass room was built for deep thinking, reflection, and meditation. In this spacious environment fontains, plants, and sculpture were added to create a feeling of caring, healing, and acceptance.

My sculpture began with the idea of two similar elements, one made of steel with heavy hammered texture, and one of bronze with more polished surface. These two peaces could represent many different things to different people. Perhaps the most basic symbolism is of good and evil or positive and negative. Other meanings are dispair and hope. Male and female. Life and death. To me the sculpture is about the duality that life is. Life is both beautiful and dangerous at the same time. We do not usually get to choose how we die, but we do get to choose how we live. I think we are fortunate that we have chosen to live as smiths, because though everyone dies, not everyone truly lives.

Once the idea existed, some simple drawings were done. Then a model or a maquette was made. Three of them in fact. The plain was approved and the actual work on the full soze piece could begin. I did not really know how to build such a large piece. It was to be 6.5 meters tall and would hang from a single point on the ceiling. The thing that I have found to be most important in trying new challenges is tenacity (or stubbornness). This is more important than intelligence or skill, though these are useful too! To use one's "will power" and to never give up no matter how many times one fails. Failure often shows on the correct way to success.

The sculpture could not weigh more than 900 kilos. This meant that it must be of hollow construction to work. Steel plates 5mm thick were cut and forged to fit onto an armature or skeleton. They were left rough from the hammer and fire. The plates and armature werde welded together as the sculpture grew. It became obvious that more reinforcement would be needed internally for the work to support itself. Square tubing was used inside to create triangulation that proved to be very strong. Without this bracing the sculpture was too much like a "slinky". This system was used throughout. The steel element was finished first and then used as a pattern to build the bronze element a few centimeters below it. The bronze piece was constructed much more quickly because all the hours of designing, engineering, and looking for a "good line" were mostly over. It was necessary to take the sculpture out of the workshop many times to hang it from a tree because it was much taller than the ceiling height. Polishing the bronze was not fun. We had to get the sculpture into the new hospital before the doors were installed and there was a big rush to hang it. We made it. For me it is a success if one person sees it hanging there in space and feels better for a few moments. Wendel Heers made some fantastic stone sculptures and Gerome Kamroski completed the space with a wonderful hanging glass mosaic kinetic piece. I would like to share a few things that I have noticed from working.

There are two ways to do things, the first way, and the correct way, and they are never the same. Often the first way one tries will show the way to a better way. Here is a riddle for you. How many blacksmiths does it take to change a light bulb? Answer: Three. One to change the lightbulb and two to argue about how it will never be as good as the old one.

Many people have asked about estimating the time and money required for work. In the case of this sculpture the material costs were around $6,000. The labor was around 1200 hours. The total estimated (and final) cost was $40,000. It was a guess. It is a rule to never sacrifice the quality ot the work because of money. You can try to estimate more accurately of course. One must always continue to learn. The important thing is that the money will always be gone very quickly, but the quality (or lack thereof) will stand for a very long time. This reminds me of a story I heard.

A man was walking on a country lane. He came upon a farmer that was holding a small pig up into the branches of an apple tree so that the pig could eat the apples. Seeing this, the man asked to the farmer why didn't he pick some apples, put them in a pile on the ground, and let the pig eat them there. Wouldn't this would save a lot of time? The farmer thought about this for a minute and then replied "I suppose it would save a lot of time, but, what is time to a pig?" So I ask "what is time to a smith?" Good work is the most important thing.

I think there is a need to say a littler about the business of blacksmithing. After an initial meeting with a customer during which I discuss rough ideas, designs, and approximate costs, I will ask for some money to cover design work such as drawing and samples. When the design is accepted and the price established, a deposit is given. On smaller works, this is 50%. On larger work it is usually 25% with more scheduled as the work progresses. The final payment is due on the day the work is installed. This system helps to make sure that you are paid for your time.

In closing I want to say once more how lucky, how fortunate I think we are to be blacksmiths today. At the end of each day, we can see what we have made, if it is good or bad, and there is tremendous satisfaction possible in this.There are many jobs that pay more money, but few that provide more satisfaction (tempered with frustration) than smithing. Lastly, one more story. This one is true. I was in a museum in Scotland and noticed a painting by Goya. It was a very old man sitting at a table where a candle burned. A young boy was learning in to light a second candle that he held from the flame of the old man's candle. The meaning of this is that one candle can light many others without being at all lessened in any way itself. This is a metaphor for teaching and for what we are doing here right now. We are sharing information and friendship. One candle lieghts ten others, and they in turn light ten more. Suddenly there is an explosion of blacksmithing throughout the world. Working together here with blacksmiths from five continents, over twenty countries, both sexes, and many religions generates the passion, comraderie, and joy that only smiths can summon. It is a great honor and pleasure to be here. Thank-you.

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