Studies in repousse and chasing

I have been drawn to the processes of repousse and chasing since I began metalsmithing in the ‘70s. I still have my first pitch bowl with the black pitch that I found difficult to work with. I attempted a few pieces and had minimal success. I still have the uncompleted sterling design that sat in the pitch bowl for years after. I juried and was accepted to study and work at the Visual Arts Center in Anchorage, Alaska. Deborah Nore introduced me to the pitch from Northwest Pitchworks. Years later I attended a free workshop on the Japanese technique of uchidashi held at the University of Arizona and taught by Eleanor Moty. Eleanor taught me the subtleties of moving the metal that has allowed me to push my exploration of metals elasticity.

I had the good fortune of being asked to make several sets of Japanese uchidashi tools for one of many workshops that Eleanor Moty has taught at the City of Tucson Parks and Recreation Center under the fabulous guidance of Jeanne Jerousek- McAninch. It is through Jeanne’s efforts that the center is one of the best places to take workshop taught by some of the nation’s best metalsmiths and artists. The tool making exercise was one of the most valuable teaching tools I have experienced. I continue to pass on these tool making skills to my students whenever the interest arises.

The following examples were created over the last several years and I continue to make tools and hone my skills in this seductive technique.

Gingko leaves modeled in a 4x4”18 gauge copper sheet.

The beetle is approximately 1.5” long. Repousse and chasing in 18 gauge copper.

Fred