Leslie McMillan
The process of transforming silver, copper, and brass into wearable art is compelling. Manipulating and hammering metal grounds me. My pieces have a subtle simplicity influenced by the shapes, colors and the textures of nature.
Recently I trained with Master Momoko Okada in the ancient art of Japanese silver leaf. Production of gold and silver leaf dates back to the 15th century. Today 99% of gold and silver leaf is produced in Kanazawa, using traditional methods of pounding a small amount of metal into whisper thin sheets. The leaf is so thin that even a tiny amount of static electricity can cause it to tear. Along with silver leaf, I used traditional silversmithing techniques such as; soldering, forging and casting in fabricating my work.
If I can capture someone’s attention long enough to let them consider the esthetics and craftsmanship involved in a piece, I consider it a success. If they are moved to acquire the piece to have as their own, I consider it a joy.
Recently I trained with Master Momoko Okada in the ancient art of Japanese silver leaf. Production of gold and silver leaf dates back to the 15th century. Today 99% of gold and silver leaf is produced in Kanazawa, using traditional methods of pounding a small amount of metal into whisper thin sheets. The leaf is so thin that even a tiny amount of static electricity can cause it to tear. Along with silver leaf, I used traditional silversmithing techniques such as; soldering, forging and casting in fabricating my work.
If I can capture someone’s attention long enough to let them consider the esthetics and craftsmanship involved in a piece, I consider it a success. If they are moved to acquire the piece to have as their own, I consider it a joy.
