A tribute to Ford Hallam

[marcus]

Hello all,

If this is in the wrong spot feel free move it Brian. 

I just thought I'd share this here and provide some insight into this remarkable man. Hate him or love him he was indeed a unique individual.

This is my meager attempt to express my feelings toward my teacher and dear friend. 

Thank you all.
Ford Hallam
At this moment in time I feel it important to somehow try to express what a huge impact Ford Hallam had on me and my life. 
It is plainly obvious that many other people have been touched very deeply by his generosity compassion, drive, intellect, diligence, humour, insight and his amazing skill as an Artist and Craftsman.  
I feel incredibly and overwhelming fortunate to have been granted direct access to that well spring.
I cannot speak for anyone but myself, but he taught me, not only the Craft I now make my living from ,but also how to elevate that work into something more than just carving, sawing and filing.
In the early days of the Iron brush forum I was initiated into this way of "seeing". He would critique and offer truly honest assessments of the work offered up trying to guide and I believe coalesce his ideas around teaching his art.  Paralleled with that was his approach to how he went about making, as well. 
The Do, or Way of how to make was something that fascinated him.
 We spent many hours discussing the philosophy of the work and what that meant to him.
His development of a Way of working directly that shared his view of the world, and his artistic expressions of it, was something that he diligently forged and eventually succeeded at brilliantly.
I recall him telling me once that he was surprised that anyone would be interested in how he worked?
He had honed these ideas over many years of work at the bench.
Many of those ideas surrounding the aesthetic that he so successfully synthesized. As he coined it "uncontrived contrivedness". An extremely difficult concept to grasp, but one he was very passionate about. Some of the ideas were about ergonomics and the physical side of craft and came from his early training as a Goldsmith ,but also later from the first bout with his illness and ways to overcome it. 
He had a way of describing it all that was alluring and almost metaphysical, almost Zen to use a very overused term.
It was this idea of working by hand directly and intimately with the material, that he and I shared a deep connection and mutual interest in. The Art itself would seem obviously the most important, but in my mind these ideas to him were one and the same. The Art and the Art of the Art, as it were.
I think this conception and his actions upon it defined him as an Artist more than any other. 
These "hand conversations" with his chosen material allowed him to create things that almost defied human endeavor. He had his heroes and saw first hand under magnification what they were capable of. I always felt that this drove him to follow that path, because he saw that it was not only possible, but also possible to bring it forward and to have real relevance in the modern world. He saw that and wanted to share that vision with the world.
Despite some of his own misgivings about this, I believe he succeeded.
In these last decades, he more than anyone in the world, has shone a bright spotlight on the art of Japanese metalwork and generated a mini Renaissance surrounding it. 
His ripples have also stretched much further outward from that into many different areas of metal work, and I believe will continue to do so for a long time.
He had many isms or saying that will persist in my mind until it's my turn to follow him.
One in particular referenced craft and the use of tools and ones eyes. He'd say "Marcus, it's all the same, it's all the same."
It took me more than a few years to realize what he was saying, but I have thanks to him.
Sawing, filing, carving, scraping, looking and depending on how philosophical you want to get, life itself is "all the same". 
Another one that comes up often for me is "just do the work!"
I'd be stuck on something or floundering for inspiration and I'd bring it up to him and he'd tell me again" just sit down and do the work...it'll come. Even when you don't feel like it . In fact, mostly when you don't feel like it, sit down and do the work. And if you really feel you can't sit ,clean ,sharpen and take care of your tools and studio." I adhere to this advice the best I can everyday. 
It's always a struggle as any artist will tell you. In fact, he himself struggled with that very thing. 
when I'm working and if I question something I'll often ask myself (WWFD) what would Ford do? and I hear him in my head.
I told him about it and joked with him about getting those wristbands made up like the ones for Jesus on a few occasions. Despite me taking the piss with him I was serious, (not about the wristbands) and still do it to this day. 
He had a gift for expressing himself in a way that made what he did infectious.
He was a gifted teacher and deeply cared about his students and those around him. 
I think this was something that many people underestimated about him. 
He would freely give way more of himself than he should have for his own good. 
Even when his health would suffer, he would push himself, especially at classes and while teaching.
Few knew how difficult it was for him just to do the day to day living.
Such was his dedication to his Art and passion to pass that on to his students. He took that responsibility very seriously and I think that was the catalyst for a few of the folks who he rubbed the wrong way through the years.. 
I will truly miss the early morning Skype calls with a cuppa Yorkshire Gold in hand and a good bit of toast and cheese.
In those precious months where he generously invited me into his home and studio to study and learn. 
I will cherish those late, late nights where we shared way to many bottles of New Zealand White Zinfandel from the Marlborough region. We talked of life, history, philosophy, science and of course our shared passion, classical Japanese metalwork. 
Looking over his shoulder while he worked and trying to soak up everything that I could.
He was encyclopedically knowledgeable and had an almost photographic memory for names, dates, schools, styles and really almost anything dealing with Japanese arts.
The amount of research he had done on his book alone would have easily gotten him a PhD twice over had he been in academia.
I'd set myself challenges of finding information that he had not already found. 
In all those years that happened only a handful of times. I'd excitedly bring something to his attention and he would then list off the book and chapter where it was located. And when he didn't know he was extremely grateful to add it to his knowledge base.
Or, if there was a particular tsuba or artist that I was interested in, he would instantly know where a reference photo was in his massive library. If he didn't have it there he would know where to look. Also, where, when and how they worked, and most if not all of the Masters for that school. It was truly astounding.
There is just so much I'd like to say and I could go on and on.
I'm really not sure where to stop with all of this...
I have known him and been his student for a long time, through thick and thin. Our relationship was the most unique one I've shared with another human.
He changed the course of my life dramatically and opened up a world I now inhabit.
He's had more impact on my adult life than anyone I've ever known, save my wife and children. 
How do you say goodbye to someone like that.
How do I move forward and carry on without that human safety net and wellspring of knowledge, understanding and kindness that he was to me.
I can only think of one, and that's to ask myself, what would Ford do? 
I will miss you ole chap, my dear friend, my teacher.
I do not have enough gratitude to repay you all that you have given me. 
10,000 thanks will not suffice.
All I can do is carry on with our work and do my best to make you and Hallam-ryu proud.
All my love and respect,
Marcus

[b.hennick]

Thank you Marcus! Many of us supported Ford and encouraged his work. He still brings joy to me and to many others who have his work. When I go into my den, I always look at the tsuba Ford made and the one he restored. One of our sword club members studied with Ford and learned to make excellent tsuba and to restore tsuba. 

Rest in peace, Ford. Your students will carry on your methods and dedication.

[Andrew Ickeringill]

An incredible tribute Marcus, the kind of tribute that any teacher would be very proud to receive from a student. I only wish I had the words in me to express what you have, but I felt everything you wrote was very relatable, the long chats filled with laughter, the philosophies of being a craftsman, the encouragement and support, these are the things I think of when I think of my friend Ford. There are but a handful of people in this world, or less, who... well you understand. Thank you Marcus. R.I.P Ford.

[Brian]

I was going to start a thread dedicated to his work, but this seems to be a wonderful thread to continue that in. So I welcome everyone to share any insights into the man, as well as share the work done by him. Let's make this a true tribute to someone who dedicated his life to the works we so love.
I'll add the solitary piece I own a bit later when I take pics. Thank you Marcus for that wonderful tribute and heartfelt expression.

[Matsunoki]

I first came across Ford around 40 years ago when my wife and I started dealing in Meiji metalwork. Back then he was devoting much of his time to restoring such pieces for one of the Worlds top dealers. As such I was very surprised when he said to me….yep, send stuff and I’ll see what I can do. At that time I had no first hand experience of his skill and knowledge. Many parcels travelled between East Anglia and his home in Chippenham. Each one came back showing no signs whatsoever of the damages or of his unbelievable undetectable touch. Nothing ever look like it had ever had any problems, nothing ever looked restored. Missing inlay, dents and deformations, depatination etc etc…..all magically disappeared.
He welcomed me to his home a few times, mostly to collect finished pieces that were best not left to the postal system. Once he told me not to send something as he was wheelchair bound. I was shocked, he had never mentioned his serious health issues to me. 
We lost touch when he moved to SA but upon his return we exchanged via a few emails. I was no longer dealing.
It was sad that he was troubled by some of his experiences on this Forum, he asked me not to use it as a communication route. 
I count myself privileged that he helped me. A metalwork magician.
RIP Ford, and thank you.

 

[kissakai]

This one of the first times I saw Ford and his infamous meeting at his old house. He invited me down as a newbie collector and he liked some of things I’d said and posted on the NMB.

Possibly along with his other 'victims' Justin and myself walked back to our digs absolutely hammered, what a night

 

The following year I popped down to see Ford with over a hundred tsuba and he explained their good and bad points. What an experience!

 

He repatinated around 8 of my tsuba and these are a couple of the reworks

 

This was the most challenging.

 

 

Reworked by Ford Hallam and Kevin Adams

This tsuba posed a few interesting questions when it came to us, the first and foremost being the large patches of thick, black material on the front and back. It was almost certainly a fire scale, and it took quite some time to remove – Ford suggested that the piece may have been in house fire, accounting for the thickness and randomness of the coverage.

After a test patina, the inlaid elements were found to be more sophisticated than first thought. The monkey's face is a mixture of shibuichi and copper, with shakudo eyes. The implements are shakudo, and after polishing a portion of the rim we discovered that the copper has a lovely grain structure. However, the fire damage that produced the oxide layer affected the surface of the tsuba and created a "gritty" surface texture. We decided that it might be worth our while to polish the surface of the tsuba and apply a tsurikomi finish to the plate.

Patinating the piece went more or less as expected, although we had some challenges getting the grey colour to patinate properly – most likely happened is whatever caused that black oxide layer also affected the top layers of the shibuichi and leached out the silver.

All in all, a piece with an interesting story behind it.

 

These were a couple he particularly liked

 

 

 

 

 

This one was his favourite and was the best example of mokume work he had seen and it was used as his screen saver for a few months. I felt so proud!

 

 

Finally, two of his early tsuba from the Birmingham museum.

 

 

 

Who knew that from these early tsuba he would produce such stunning works of art

 

I’ll let this post speak for it’s self

 

 

Grev

Edited August 15 by kissakai
Realigned

[1kinko]

How about a section labeled the Hallam School here on the NMB?

[Vermithrax16]

Ford restored my favorite tsuba (Tomohide minogame) from serious verdigris. He brought back to life a great rabbits kozuka that seemed beat. He worked with me on a custom rabbit tsuba to pair with one I had already that still is my avatar Pic.

 

What can be said? He will be missed.

[Bazza]

So lovely to see our Antipodean Comrade Justin on an arm-in-arm jaunt with Ford and Friends. "hammered" I understand in its manifold guises, having just come from a liberal lunch...

 

BaZZa.

[Toryu2020]

My favorite. A modern subject presented with age old Japanese aesthetic in a Higo style. Tokkuri. Ochoko and two drops of spilled sake, just sublime. 

[Toryu2020]

Two more

[ROKUJURO]

Remembering Ford's demonstration in the Citadelle de Besançon 2014, just 10 years ago:

 

I had the pleasure to exchange a few e-mails with him over the years. We also communicated on some material I sent him like old wrought iron and raw copper (from an experimental production process) for his work. 

I will miss him greatly.
 

[Larason2]

Thank you Marcus and all who have contributed to this page for a fitting tribute. I first met Ford here on this forum looking for advice on the production of bronze age swords, and I felt like he took me under his wing, and I ended up learning a lot of Japanese metalworking processes from him, even learning how to do chasing, niage and iron patina, and casting shakudo, shibuichi, and yamagane. I've been following and learning a lot from his Patreon page, which is still a wealth of information. I'm very grateful for him, and I'm grateful for those of you like Marcus and Jean who keep his work alive and help the next generation of Ford devotees, among whom I am numbered. May he be forever remembered by those he taught so generously, and may we continue to be inspired by the works of art he made us while he was here among us. Thanks Ford for all you did, you and your community will be in my prayers.

[ROKUJURO]

Ford does not have a WIKIPEDIA page, but in my opinion he should now get one. Is there perhaps someone closer to him who could contact Isabella and/or gather some biographical and other data?

[marcus]

On 9/1/2024 at 4:32 PM, ROKUJURO said:

Ford does not have a WIKIPEDIA page, but in my opinion he should now get one. Is there perhaps someone closer to him who could contact Isabella and/or gather some biopraphical and other data?

Hi Jean,

I have been thinking about this as well. I am going to make some inroads on this front once the funeral has past and perhaps give the family some more time to grieve.  

Regards,

Marcus

[marcus]

Thank you to all who have posted here. I truly appreciate it.

Best regards,

Marcus