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Migala Metals
interview by nathan thorin
In the vein of local industrial imagery, the work of Michael Migala
came immediately to mind. Michael creates forged metal work, often
merging art and functionality. We recently contacted him to get more
insight into the work of this metalsmith.
What are your inspirations?
My aesthetic inspiration comes from recognizing subtle visual elements
in natural and industrial environments and capturing the essence of
these details in my work. Through the use of form, structure, texture,
connection devices and pagination, I render images in metal that are a
response to my observations. I am drawn to the process of taking a
dense, unyielding material and forcefully transforming it into a
graceful object which can be functional as well as sculptural. There
are the challenges that invigorate my creative pursuits.
Where are you from? What started your interest in metal sculpture?
I grew up in the Chicago suburbs. I started shoeing horses at the age
of 19. Because of the equipment that I had (forge, anvil, etc.) I
started making wedding gifts for friends and some metal tables. When I
was, 28 my wife and I quit our jobs, sold our house and moved to
southern Illinois to pursue a BFA in blacksmithing at SIUC. During my
time at school I had the privilege of studying under Brent Kington,
Richard Mawdsley, and Rick Smith, all internationally recognized
metalsmiths. Before graduating I was one of the winners of the
Rickert-Ziebold Trust Award, a juried competition for undergraduate
art students with a $20,000 cash award. I also interned/apprenticed
with John Medwedeff, an award winning metalsmith who focuses on large
public sculptures and fountains. He produces work for numerous
Interior Design clients out of NYC, as well. About a year after I
graduated I had the opportunity to teach blacksmithing at John C.
Campbell Folk School in N.C.
What brought you to Jacksonville?
We moved to Jacksonville to work with Bob and David Ponsler at
Wonderland Products, Inc. forging and fabricating ornamental ironwork.
Lately most of my own work is client-driven. They have a need for a
specific piece that serves some function, so there are parameters that
I have to design within: size, function, style.
 Please tell us a bit about your working process and tools.
At the drafting table I use historical references, research, and
contemporary design periodicals to develop a series of thumbnail
sketches. I often forge samples to show the client, or if I'm
designing a sculpture, I will create a paper prototype. The tools I
use are the basic tools of any blacksmith shop.
My studio is actually one-third of our two-car garage. In amongst
lawnmowers and kids bicycles I have forges, anvils, a bandsaw, welding
equipment and a big old loud air compressor. My coal forge is outside
under a shade tree which works reasonably well unless it's windy
and/or raining. Different jobs allow for the acquisition of new
equipment.
What are the goals you are striving for with your art?
My goal is to be in a position to work full time in new larger studio
space on my own designs with my own clients where my wife doesn't have
to complain about grinder dust on her artwork over on her side of the
garage or the kids getting bits of metal in their feet when they run
around barefoot.
Please tell us some about the relationship between the function and
art aspects of your work.
I don't think my work needs to be functional, but I want people to
have contact with it, to interact with it in some way. Sometimes
people are reluctant to buy art simply to display, but if there is a
justification for it beyond the aesthetic then perhaps those people
who buy functional art will become more comfortable with art for art
sake.
Since Michael's work is primarily client based, there is currently
no public display of his art. We hope to see that change soon, as his
art deserves to be experienced. In the meantime you can reach Migala
Metals online at
www.migalametals.com to view or contact about commissioned works.
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