INTERview | Chris Darway

darwayWhat is your background and training?

I went to the Philadelphia College of Art back in the 60’s where I earned a BFA in craft design. Metals was my major. I made and sold work through galleries while living in in NYC. My first teaching job was either in White Plains or the Westchester Art Center. That’s bizarre seeing the conference is in Westchester. It might be the same place.

What are  you working on in your studio now?

I’m making a couple of props for a high school theater production of “Once in a Life Time” that my wife is directing. The play was written in 1932 and she needs a 30’s style movie camera and microphone. I get to do this fun job about twice a year.

Tell us about your process and how you came to work this way and has your practice changed much over time?

I’m not sure what you mean by process. I tend to think in terms of design. Craftsmanship is a given. Handmade is not an excuse for poor craftsmanship.

Do you experiment a lot or do you work within a specific set of parameters?

I think have a reputation of experimenting with materials, techniques and designs. So experimentation comes naturally.

Describe your teaching style

Explain to the students what is going on with the material and then stand out of their way.

What most inspires you?

Everything and anything.

Who are your favorite enamelists? (what are your most important influences)

As an enamelist I rate myself as a troglodyte. I do think Amy Roper Lyons is amazing. Barbara Minor is a major in my book. Harlan Butt is also awe inspiring.

What is your dream project?

To finish my second Vespa restoration. I also have been thinking of a series called “Phillips Head Screw Drivers that Never Were”. I’m going to make a Phillips head screw driver from different ages in history starting with the Stone Age to the present.

Tell us about the workshop you will be offering at the EG/NE conference.

Displaying one’s work is something that we are not always trained to do. Museums and galleries have trained staff to present works in an interesting and safe manner. Art schools offer courses in museum curating, art preservation and display. I was invited to give a workshop on how to make a display that allows the work to be removed and worn. We are going to work within the parameters of a wood shadow box. I will cover cutting, bending and brazing (soldering) stainless steel, iron and brass wire; when and what types of adhesives to use; different coatings and finishes for metal and wood and proper mounting hardware both handmade and commercial. I’m looking forward to the variety of pieces the student will bring and the design challenge each piece will present.

To see more work by Chris please visit https://chrisdarway.artspan.com/000