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Intimate Portrait
#NoPainNoFilterAshton Hui (L8-10)
When did you discover your interest and talent for metalworking?
I first encountered metalworking during my studies in visual arts at university and quickly developed a fondness for this creative medium. There are many different techniques within the field of metalworking, but I am particularly interested in creating medium to large-scale objects or sculptures. This passion led me to pursue further education at the National University of the Arts in Taiwan, where I continued my studies in metalworking. Rather than discovering a talent, it felt more like a profound interest emerged after my initial exposure to metalworking, motivating me to delve deeper and continuously progress along my creative journey.
Among the various metalworking techniques, why did you choose “metal raising” as the focus of your in-depth study?
There are many types of creators, and I believe I belong to the category of those who engage in hard physical labour. By directly participating in the creative process through my body, I transform the experience into an integral part of the conceptualisation of my work. Metal raising is not only the slowest method in metalworking but also the most honest technique; the practice and effort behind it are fully reflected in the final piece, leaving no room for shortcuts. Although the techniques and tools used in metal raising are highly similar, each finished product possesses a unique character, much like an embodiment of the creator.
Which step in the metal raising craft do you enjoy the most? And which aspect do you find the most challenging?
My favourite step in metal raising is raising the metal sheet. Although each round only allows for a gradual increase in height, witnessing the work steadily progress towards its final shape is one of the few truly exhilarating moments in the process. However, the planishing stage, which occurs near the end, presents the greatest challenge: using a planishing hammer to eliminate the hammer marks left during the forging process and to create a uniform surface texture. This stage is lengthy and monotonous, requiring careful attention to avoid accidentally scratching the surface or distorting the piece, so it is essential to remain calm and composed.
Which metal surface treatment (hammer marks) do you prefer? And which type of patina on copper do you like best? Why?
I enjoy preserving the overlapping hammer marks from the forging process on my pieces, or creating textures similar to wood or stone by using a textured hammer on the surface. I then employ a torch for colour treatment through a heat-torquing technique, or I mix unique chemical formulas with sawdust to achieve the desired colour. I believe that textured pieces should maintain simplicity in colour treatment – it would be a pity to cover the hammer marks. The sawdust dyeing method, on the other hand, often yields delightful surprises.
“Metal Raising” is often mistakenly perceived as a technique specific to “blacksmithing.” What are the similarities and differences between the two?
Both techniques share similarities in that they utilise the malleable properties of metal, shaping it into the desired form with hammers and tools. However, “metal raising” generally refers to the techniques of raising and sinking, where softer metals like gold, silver, and copper are worked into pieces with a certain volume. In contrast, “blacksmithing” primarily focuses on iron-based metals, which are hammered into shape when heated to a red-hot state.
Compared to other creative mediums, metalworking is often perceived primarily as a form of decoration or as functional vessels, with less emphasis placed on their deeper meanings. When you create, do you prioritise practicality, aesthetic appeal, or conceptual depth? How do you think one can balance these three aspects?
I believe that creative works and functional pieces can be discussed separately. Creative works focus more on the relationship between the piece and the artist, as well as how to convey that relationship to the viewer. The overall form and presentation are also considered in terms of aesthetics and their relevance to the theme. However, if the piece has a specific function, such as jewellery or vessels, practicality of intended usage becomes an important consideration in the creative process. For works primarily intended for everyday use, functionality and visual appeal take precedence in the design considerations.
