Distinctly Montana Magazine

w w w . d i s t i n c t l y m o n t a n a . c o m 37 INTERVIEW WITH THE ARTIST YOUR CHOICE OF AN ART MEDIUM IS CERTAINLY UNUSUAL. HOW DID YOU FIRST BECOME INTERESTED IN METAL AND BLACKSMITHING AS AN ART FORM? My choice of artistically forged metalwork never seemed unusual to me. It was a winding road I took. In the mid 1970s I was a farrier. I used a coal forge, anvil and hand tools to forge my own horseshoes from flat bars of steel. One of my colleagues asked me to help him with the shoeing and trimming of a barn full of draft horses. He brought along a couple of books on artistic, forged metalwork, and as he drove we started discussing the metalwork featured in the books. e more I read, the more I became inter- ested. What I saw in the books really sparked my imagination! I joined the Artist-Blacksmith Association of North America and went to their biannual conference held in Purchase, New York. at was 1978; the works and the people I met there led me down that winding road. I immediately started moving from horseshoe- ing to artistic blacksmithing. WALK US THROUGH THE PROCESS YOU FOLLOW WHEN CREATING A PIECE. Commission work starts with the client contacting me and explaining what they'd like made. It's important for my design to blend with other design elements in the room and over-all ambience of the home. Considering the metals' character and ap- pearance, I present my thoughts and drawings to them. When we decide on the design the work can begin. I may travel to the loca- tion to make field measurements, or other preliminary work. en I start forging in my studio. When it is all assembled, the finish is applied and I transport it for installation. GLENN GILMORE achieves a balance in his metalwork that brings to- gether elements unusual in such a demanding medium. His lines are bold and clean, yet delicate details often em- bellish his designs. The methods Glenn uses to join different components are often traditional joinery–rivets, collars, mortise and tenon—yet the works are decid- edly contemporary. These methods not only provide an important part of the overall design, but add structural integrity to the work. Whatever the approach or size, whether forging a set of large gates or a small coat hook, he devotes the same attention to design and detail. "I want the piece to have enough body," Glenn states, "so that it will stand on its own, yet not be lost or overwhelming. I enjoy hot forging the metal because it is a very direct process. When I want a desired form, I have to know where and how to hit the metal. With each ham- mer blow, it moves in the desired direction." As a result of his ability to shape the metal, Glenn achieves a balanced relationship between mass, form, and function. His unique fireplace screens and accessories transform an often overlooked area into a small gallery of art: a forest-scene fire screen frames the flames glowing atop beautifully crafted andirons and expertly designed hearth tools, which are as comfortable to use as they are attractive. Other original fire screen designs include a fleur-de-lis with repousse' copper dog heads, and an oak leaf/acorn pattern. Glenn also creates driveway and garden gates, light fixtures, grills, and deco- rative fence work, as well as tables, lamps, and fixtures for interiors. He considers himself fortunate to be able to do his own design work for commissions and original creations, a practice that allows him to create challenges that lead to continual growth and self-expression. His command of metalworking results from 45 years of design and forging experience. This journey began with the humble horseshoe while he was working on ranches in New Mexico. Later he studied with Francis Whitaker at the John C. Campbell Folk School in Brasstown, NC. His pursuit of excellence took him to Belgium and Germany, where he received a diploma in Forging and Metal Design from the International Teaching Center for Metal Design and, apprenticed with renowned Artist-Blacksmith Manfred Bredohl at the Vulkanschmiede Aachen. Upon returning to the United States, he opened a private studio in North Carolina. In the summer of 2000, Glenn relocated his studio to the beautiful Bitterroot Valley in western Montana. In 2003, Gilmore purchased a 1,600-square-foot studio near Corvallis. Glenn has earned commissions for private homes, galleries, and stores as far away as France, Italy, and Japan. Since the early 1980s, Glenn's work has been represented in juried and invitational shows in galleries and museums throughout the United States. For a full list of Gilmore's awards, exhibitions, features in books and magazines, see www.gilmoremetal.com. Detail of Branch Railing

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