Wow, it has been a LONG time since we had one of these. Remember way back when (December 3rd, to be exact) when I said I had a great artist that was to be featured on that particular Friday? Well, this is the one. However, having a baby 10 weeks early changed those plans and I am just now getting back into the swing of things.

I was very excited when Lyle first commented on one of my blog posts. I had seen his work previously and am absolutely in love with his style. Just take a look for yourself.

Lyle, thanks for participating and I am so sorry it took so long to finally get your feature done.

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Artist name:  Lyle Poulin of The Artemisia Atelier

Location: Portland, Oregon

Website: www.artemisiaatelier.etsy.com

Blog if you have one: www.lylepoulin.myphotoalbum.com

Other Pages : My Facebook Page

Do you have a dedicated studio/artistic space?
Yes.  I have a dedicated jewelry and blacksmith studio in the garage of my house.  In the garage I do all of my jewelry fabrication from cutting, hammering and drilling, to riveting and polishing.  It is better for my work to take place somewhat separated from my actual house because I regularly work with red hot metal and will occasionally make a lot of noise.

My garage is pretty small for a metal shop, about 12 feet by 16 feet, but at least it feels like all my tools are within reach if I need them.

 I also have an indoor work space where I assemble my necklaces and earrings-- essentially a big table in the basement.  Sometimes I bring my small tools to street fairs and shows, to stay busy if things are slow.

What medium(s) do you work in? Do you have a separate area for each?

I work primarily in copper, silver, bronze and steel.  The majority of my recent work is in copper sheet with a reticulated silver surface.  This technique involves melting sterling silver scraps onto larger pieces of copper. As the silver cools down and solidifies, it develops unique patterns and textures reminiscent of the earth’s surface or dried mud.

 I also work with mokume gane and damascus steel.  Both materials are made by fusing multiple layers of contrasting metals together to form a single billet, then manipulated to bring out a wood grain pattern.  Mokume gane is traditionally made with copper, gold and silver alloys. Damascus is made from different types of steel.   These materials are difficult to produce in a small jewelry studio, so when I have access to an industrial metal shop with hydraulics presses, power hammers and a larger grinding space, I make batches of mokume or damascus.

 These processes are all similar in that they allow chaos to enter each individual piece even though the process for making it is very controlled.  You go through the steps of preparing and making the material but in the end it’s impossible to control the exact outcome of the pattern.  This invitation to chance is what keeps me drawn to working with these metals-- I like to see what happens next.

What do you think is the best feature of your studio?

I like the size and layout of my studio.  It’s a good balance--enough space to have a few projects spread out, without too much clutter. Whatever tool I need while working is usually within reach, and that’s important for working efficiently.

 My work bench, buffer, drill, and hand tools are set up against the walls of the garage, and my forge and anvil are in the middle. I am usually found somewhere in the middle of everything.  Maybe I have the forge going and I’m hammering  hot steel on the anvil. Once that piece cools down, I might move on to drilling tiny holes and riveting small structural elements in silver and bronze.   It wouldn’t make sense to have two separate spaces--one for blacksmithing and one for jewelry making-- because both are essential to my fabrication process.

What would you change if you could?
Warmer and dryer during the winter!

 Can you share an organizational tip?

Everything should have a place that you can remember.  Make sure that the things you use most frequently are the closest to you.  If you have a tool that you really like but rarely use, put it aside and use the space for something more useful.  For me I probably use my hammers, drill, saw, torch and buffer more than anything, so those are close at hand.

Large chalkboards also help me stay organized.  I use one for notes and lists of things to make, or supplies to order. Then I use other chalkboards to draw on while working out design or ideas.  An amazing Italian blacksmith named Claudio Bottero said that he regularly spends over 50% of his total time on projects working out the design before he even starts hammering steel. This is for projects that take hundreds of hours to complete.   Could you imagine working full time for a whole week drawing on paper before you actually sit down at your work bench?  I know that this isn’t a realistic option for most of us, but just drawing things on a large scale helps me make progress on designs that would take much longer to figure out if I were only working in metal.  

Describe the usual state of your work table?

It’s like a tide.  Clutter will usually build up throughout the week, especially when I am busy preparing for a show, or filling orders. Then it recedes.  I try to clean and reorganize everything at least once a week so that my studio and mental space can have a fresh start on Monday.

What's one drawback of your studio/artistic space?

It may seem ideal to work from home, but there is always something to distract you from being truly committed to your work.  It’s only a slight drawback; the convenience really is nice.

Do you listen to music in your studio? What kind?
In the shop, I listen to the radio on my boombox, or pop in a cassette with some reggae or jazz.  Indoors, I like to listen to This American Life.

Thanks so much for participating Lyle!!!!

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If you would like to be a featured artist, just shoot me an email at : Melissa@kcjewelbox.com and I will send you the questions and information.