People often ask me about my materials and process. Where does the metal come from? What tools do I use? Why steel instead of something easier to work with? I thought I'd share the answers here.
The Metal
I use steel for almost everything I make. It's strong, it welds beautifully, and it takes patina finishes in ways that other metals just can't match. The warm tones you see in my sculptures — those coppers, bronzes, and greens — come from chemical patina processes that work specifically with steel.
Whenever I can, I source recycled steel. Old farm equipment, scrap from machine shops, discarded metal from construction sites — there's something satisfying about giving new life to material that would otherwise end up in a landfill. The history in recycled metal adds character too. Sometimes you can see the marks and textures from the metal's previous life, and I'll work those into the design.
That said, I also purchase new sheet metal when I need specific gauges or when recycled stock isn't available in the right thickness. Some pieces — especially the more detailed work like flower petals or bird feathers — need a consistent, clean sheet to start with. I'm honest about this because I think it matters: my work uses recycled metal when possible, but quality always comes first.
The Plasma Cutter
My plasma cutter is the single most important tool in my workshop. If you're not familiar with plasma cutting, it uses a high-velocity jet of ionized gas to cut through metal. It's incredibly precise — I can cut curves, details, and intricate shapes that would be impossible with a saw or shears.
I do all my cutting freehand. No CNC machines, no computer-guided cutting. Every line you see in my sculptures was guided by my hand. This means every piece is truly one-of-a-kind — even when I make two sculptures of the same subject, they'll have subtle differences in the cuts and shapes.
The plasma cutter lets me work fast when I need to and slow when precision matters. For the broad shapes of a sunflower petal, I can move quickly and let the natural flow of my hand create organic curves. For the tiny details on a butterfly wing or a fish scale, I slow way down and work almost like I'm drawing with the torch.
Other Tools of the Trade
Beyond the plasma cutter, my workshop is full of tools that each play a role:
The welder joins everything together. I use MIG welding for most structural work and TIG welding for the finer detail pieces where I need more control over the heat.
The anvil and hammers are where flat steel becomes three-dimensional. After cutting a shape, I hammer it into curves, bends, and textures. This is the most physical part of the work, and honestly, one of the most satisfying.
The grinder smooths edges, cleans welds, and creates surface textures. Different grinding wheels and discs give me different effects — from smooth polish to rough, rustic texture.
Patina chemicals are the final step. I use a variety of solutions — copper sulfate, liver of sulfur, ferric chloride, and others — to create the colors and finishes on each piece. The patina process is part science, part art. Temperature, humidity, application method, and timing all affect the final color.
Why It Matters
I could probably make sculptures faster with different methods. CNC cutting, powder coating, assembly-line processes. But that's not why I do this.
Every sculpture I make carries the marks of my hands — the way I guided the plasma cutter, the hammer strikes on the anvil, the brush strokes of the patina. When you hang one of my pieces on your wall or place it in your garden, you're getting something that was made by a real person, one piece at a time, with real care.
That's what handcrafted means to me, and it's why I'll keep doing it this way.
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