Conversation with the Artist

As an artist working in three dimensions, Rene Petitjean considers himself a spatial problem solver. In this candid conversation you will learn about his evolution as an artist, how he approaches his work, and where he sees his career heading.

On the transition from pottery to iron

The shift was not as difficult as might be imagined. Firstly, good design is good design whether it is a vase or a chandelier. The same principles, and even the same steps apply, starting with planning. Both materials are fluid when you work with them. Throwing the pot or forging the iron. Trimming or removing scale. Reducing the forging to bare metal or glazing. And so forth. Both use fire; in fact, it really helps to be a bit of a pyromaniac.
In both cases the process starts with a volume, which is manipulated into a different shape, perhaps enhanced with some additions and then finished. By contrast, other disciplines like sculpture or woodcarving are essentially processes of removal.
The biggest difference is the size and duration of the project. It takes minutes to throw a pot, even though the whole process from throwing to final firing can take weeks. When you begin a metal project, it generally consumes you until completion, up to two weeks in the case of a lighting fixture, three months for some of the railings we've done.

On living and working in Creemore

It is great being a dinosaur; I have been here since 1979. When I first came, the downtown was boarded up, and I thought who in their right mind would live here? Within a year, I did.
It was the land. The right proportion of woods to field, the hills, and especially for me Dunedin, that little rough-cut jewel just down the road (and up the river) from Creemore. Good place to raise a family. Good place to come from.
At this point people are more important to me. There are many artists in and around Creemore now, who provide tremendous support for each other. The place has a strong sense of community with many people who take pride in their town and try to make it better. There is also a good balance of local and weekend residents from Toronto to stimulate the dialogue and the economy.

Development of a project

I start by having in-depth conversation with the customer to understand their wishes and requirements. We next conduct a site inspection to measure the room, take note of the existing design features, and get an overall scope of the project. I then prepare a rough drawing on paper of what the installation will look like.
This up-front dialogue with the customer, understanding what they like and do not like, is critical. Quite frankly, much of what I do at this point is to talk people out of things. Often their initial thoughts are much too complicated. At this time in the world when everything is so frenetic, simple calming lines that fit into a building and compliment rather then compete with their surroundings is the basis of good design. This principle also makes for a final product that will be as interesting in 10 years as it is today. Put simply, I seek elegant solutions.
Once the design is selected, and depending on size, I prepare either a mechanical drafting of the piece or a cad drawing. This entire up-front process takes about 25% of the time to complete a project, and helps ensure that most of the potential problems are worked out before the project goes to the studio for forging and assembly.
At this point we fire up the forges, cut and hammer the metal, and then assemble the pieces. Finishing takes another 25% of the total time, and although usually tedious, inevitably produces results that are worth the effort. For interior pieces the surface is reduced to bare metal, blackened, highlighted with polishes, and then sealed against tarnish. With exterior items we recommend sandblasting, galvanizing, then powder coating for weather resistance.
With this emphasis on planning at the outset, and assuming we have done our job right in the studio, the final installation stage is usually a breeze.

Challenges

First and foremost is working and communicating with the client. Understanding their needs, but at the same time focusing on what will make the most of the site. Designing an object that does not take over a room, but compliments it. Understanding the material itself - what it can and cannot do. Realizing what you can do with the tools at hand, including holding yourself back from buying more tools. Staying fresh - not letting the job take away the need to experiment and play.

Importance of teaching

I now teach metal sculpture courses in the summer and the final studio segment of an intensive blacksmithing program in the fall. Teaching keeps me fresh; it gets me out of the studio into a different environment with teachers representing a wide variety of disciplines from all over the country.
The inherent problem-solving component of a project is multiplied by number of students I am working with at the time. That is how I have learned that there are as many ways of tackling something, as there are people. So my eyes are being constantly opened to different ways of doing things that I probably would not have considered. That makes for a wonderfully broadening experience.

Reaction to my work

I hope people see well thought out, well crafted pieces that fit comfortably into their situations. Because these objects are usually fastened to a building in some way, I would hope that every piece looks as though it belongs. It should not stand out, but fit like a good jacket.
I also want them to see beauty. Much of my work – railings, gates, chandeliers – is functional, but I want people to appreciate the form and aesthetic components of what I do as well.

The future