TCR: How did your work in construction/restoration affect your future as a full-time metal artist?

MS: Originally, I worked for my father, Robert Saari, in construction, learning everything from footings to finished trimwork in building a house, and operating heavy equipment for site work, electrical work and plumbing. I decided to attend a local night school to get certified in welding and machining during that time as well.

[Through my construction jobs] I gained a lot of business insight in dealing with city officials, realtors, bankers, other tradesmen, etc. Then the business moved into restoration construction; at this point I really started looking at early 18th and 19th century structures and ornamental metalwork. Down the road, a lot of construction methods and tool forms influenced my sculpture -- I am fascinated with how things are put together. Metalwork always interested me; having the opportunity to handle and examine old architectural hardware as a builder propelled me to want to actually make it myself.

Tree Sculpture -- forged and fabricated steel.

TCR: When did you start working full time?

MS: After those early years in building, I never did anything else [besides metalwork], although I could add that I worked seasonally for a local dairy farm haying and doing equipment repair. (I moved cows around too but never did milking!)

TCR: What challenges did you face in the beginning? How did you overcome them?

MS: Coming up with working capital and building my space. I kept my overhead as low as possible and still do. That has been key to the success of my business.

Sculpture, Headstrong -- cast iron.

TCR: When did you set up your own studio? What was involved in this both financially and logistically?

MS: The whole interview could focus on this question! Building the studio has been a big undertaking. Basically, I bought a livestock barn with a carriage shed and turned it into a studio and house -- a big challenge. Now, it's not a shed; my studio is a serious metal studio. I wanted to build a contemporary metal studio which included an overhead bridge crane to do large-scale work. This meant reinforced concrete footings, structural steelwork, completely new mechanical (wiring, heating, plumbing). It has meant a considerable outlay of time and money, but it's fun and rewarding to build your own space. I'm always fine tuning it -- I started it in 1985 and am still working on it.

I have also spent thousands of dollars. It's gone from a couple of broken down buildings to having a nice space to move into. Doing all of the work myself is both good and bad -- I save money and do things my way, but it takes a lot of time and some schedule-juggling. It has been a real challenge to finish a piece of art on time, get paid, buy a water heater and hook it up [or whatever else I needed next], then go to the next commission and so on.

TCR: What have been the major turning points throughout your career?

MS: Three right off: 1) Studying in Germany; (2) getting my master's of fine arts at Southern Illinois University; and (3) meeting my wife.

Before studying overseas, I had been doing all historical work. In Germany I got to work in a modern art studio and on large-scale projects. I gained confidence to tackle big sculptures that involved employing other people, using a crane, etc.

In 1993, I went to study full time at SIU at Carbondale. I'd had lots of ideas simmering for years, and this was a break to pursue ideas without worrying about sales. I took a risk in semi-closing the business during that time to become a full-time student, although I was still lecturing and giving studio workshops at different schools where I had either taken classes and exhibited my work, or at conferences where I had submitted proposals to give a lecture.

I was teaching and studying at SIU, but the emphasis was on studio work. I gained academic and creative freedom, and looked at non-Western art: tribal and African art, Pre-Columbian and Oceanic art which influenced my work. Some of my current work has been called "totemic."

Being with thousands of university people enabled me to have an exchange of ideas unlike before when I was working alone. The University called me a "mid-career student." I was 35 at the time I entered SIU, but the average age in graduate school was 33, so I didn't feel out of place. I got more out of the experience having worked before. I had more ideas and maturity about what I was pursuing, i.e., more focus. I loved the opportunity to do sculpture, furniture and casting, and I did not have much foundry experience before SIU. Different professors and students were important: Professor Brent Kington ... Professor Richard Mawdsley, who got me going with small-scale casting and silverwork.

In 1995, while teaching at the Guilford Handcraft Center, I met another artist, Cynthia Liebler, whom I married last year. She has been a big help in promoting my work and doing office stuff. We exchange ideas on various projects and business issues have plans for some collaborative pieces combining metal and glass.

Sculpture, untitled -- fabricated steel.

TCR: You've studied metalwork in many countries --Belgium, France, Germany, Luxembourg, Switzerland ... How did this affect your work and your business?

MS: I gained new insights on both historical and contemporary work. Seeing what people all over the world are doing in metal art was important and helped me evolve a supportive network of colleagues involved with the arts. I also gained teaching opportunities through traveling. Studying with Manfred Bredohl in Germany stressed art and the business of art.

TCR: Who is the market for your work and how do you reach them?

MS: My market is a mix of designers, collectors, architects, museums and private homeowners. They all appreciate integrity. Most of my work comes through referrals, though I have done a couple of [very focused] mailings. For example, some magazines, like Architectural Digest, print a list of architects and designers and will showcase what kind of work they're doing. If it jives with what I'm doing, we'd send them a postcard showing the work and ask them to contact us if they want more information. If they do, we follow up with an elaborate packet. This way, we don't spend a lot of money on big, expensive mailings. I cannot stress enough the importance of getting the right people to see your work.

Some comes from happenstance -- being in the right place at the right time.

It goes without saying that you've got to be good at what you do to progress, and you must follow through with business details. If I read or hear of an interesting possibility for work, I call or write to inquire, and I follow up. I also have a network of other artists, and we refer work to each other. It is very important not to compete with your peers in a negative way. Have good photographs of your work and present yourself in a professional manner, I would say. Buying a fax and a computer was important to my business.

Sculpture, untitled -- forged steel.

TCR: How did your work become a part of so many public collections?

MS: It's just happened over a number of years. You do a good job for one place and you get a reference for another. Being patient, persistent and networking is very important. A lot of this work didn't happen until I had become known in the field. There have been times when I've submitted proposals after being referred to a potential customer. It's important to follow up on proposals, because the process might go on for a year before the piece actually comes through.

One thing that has helped me is free listings, like through the state art council; they have a form you fill out and you submit slides for them to keep on file. It's basically a library of artists' work, and anyone in the state can submit their work.

TCR: How did you get involved in an equally large number of group exhibitions?

MS: A lot of exhibitions are sponsored by art and craft organizations like ABANA [Artist Blacksmith Association of North America] or SNAG [Society of North American Goldsmiths]. Follow the instructions for exhibiting and meet deadlines. Look in journals and at local opportunities. Snoop around, check bulletin boards. Go for things that are a good fit with your work.

TCR: When and how did you begin teaching? How did the many workshops you've taught around the country come about?

MS: The first class I taught was at the Brookfield Craft Center. I had visited there and showed pictures, and they asked me to teach a blacksmithing class in the early '80s. I exhibited at conferences, and people asked if I could teach them. A lot of teaching comes from referrals. I really enjoy showing people how things are made, and they get psyched too. Working at OSV was good exposure to working in front of groups and answering questions early on. As much as I enjoy hanging out at my shop, I enjoy getting out in the world, and you have to do this to get exposure and consequent work.

TCR: How has teaching affected your career?

MS: It's been a big help. Traveling and showing my work has resulted in commissions and other jobs. I like sharing my material, and I learn a lot from my students.

Sculpture, Mew -- cast bronze.

TCR: How has your membership in a number of professional organizations and attendance at many conferences affected your career?

MS: Through ABANA I went to study in Germany. The ABANA group has had a profound influence on me; I became involved a while back in what has grown into a big group of colleagues. A number of chapters have invited me to be a guest demonstrator at their meets, which has been great. We exchange lots of ideas and techniques; we have a good time when we get together, and I try to attend and/or help with as many conferences as I can.

TCR: In 1992, your work was featured in a television show called "Blacksmith," on Channel 22 in Springfield, Mass. ... How did it come about? What did it entail?

MS: It was a Western Massachusetts station; OSV was doing the show and asked me to be involved. They wanted someone for the show who was adept in the field. I was interviewed and filmed while I was working.

RESOURCES

Artist-Blacksmith's Association of North America (ABANA) LeeAnn Mitchell, Executive Secretary Box 816 Farmington, GA 30638 (706) 310-1030 (between 8:30 a.m. and 4:30 p.m., EST, Mon.-Fri.) e-mail: abana@abana.org www.abana.org Centaur Forge Box 340-A Burlington, WI 53105 (414) 763-9175 International Teaching Center for Metal Design Contact ABANA's Aachen Work Study Committee, which overseas the selection of ABANA members selected for study at the Center in Aachen, Germany. Larson Books 5426 East Highway 246 Lompoc, CA 93436 (805) 735-2095 National Coal Company 43 Cresent St. Worcester, MA 01605 (508) 752-7468 or (800) 675-7468 Old Sturbridge Village (OSV) Rte. 20 Sturbridge, MA (800) SEE-1830 www.osv.org Society of North American Goldsmiths (SNAG) 5009 Londonderry Dr. Tampa, FL 36647-9910 Ph: (813) 977-5326 Southern Illinois University www.siu.edu/

TCR: What in terms of business insight have you learned to do or not do over the years?

MS: I have learned to follow through and be persistent. Be flexible in getting to your goals. Low overhead is important; spend efficiently. Try not to listen to negativity when it is not constructive. I don't pursue markets which are dead ends for my work (for me craft shows don't work, though for others they do). Be yourself.

TCR: Do you see any disadvantages or advantages specific to metal artists?

MS: I see metalwork as advantageous in that the sky's the limit. I can work on a small or large scale. Materials are cheap and plentiful. I use my network to problem solve. One [inherent] disadvantage is the cost of shipping large metal pieces.

FOR MORE INFORMATION

Michael J. Saari 256 Childs Hill Rd. Woodstock, CT 06281 Ph/Fax (860) 928-0257 e-mail: Work3d@aol.com

TCR: What has been the most difficult thing you have encountered in your line of work?

MS: One of the most difficult things is getting your work seen and accepted. There is a lot of stuff out there for people to weed through.

TCR: Do you have any plans for a Web site?

MS: Yes. I've resisted it as long as I could. Customers keep saying, "Can I look at your work on the Web?" So, plans are in the works. A Web site gives the artist more control about how work is shown and is an economical marketing tool. It makes it much easier to get your work out there, and it is much more accessible today to the average studio artist.

TCR: Where do you hope your career will go from here?

MS: Up. Larger sculpture commissions, more public work.

TCR: Where do you get your materials?

MS: It's important to find a local steel distributor. For me it's Cotton's in Southbridge, Mass. I buy coal at National Coal Company in Worcester, Mass; tools from Centaur Forge and Steve Case & Son; and books from Larson Books. (See resources box.) I also check out flea markets and yard sales.

Noelle Backer is senior editor of The Crafts Report.

NOVEMBER 1999:

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