Carson Terry
Carson Terry is an ironworker living and working in the USA. Carson has been building their foundation around design and form, in both large scale welded fabrications to small hand held forged objects.
If you had access to all the powers, how would you improve the world?
I think it is important to ask what it means to improve the world, and who defines such an idea. That said, it would be wildly inspiring if all humans in the world suddenly felt genuinely compelled to work towards their best vision of a better world. An end to apathy! And a greater interest in trying, failure, and learning. As far as I am concerned, in an ideal scenario it would be great if all of those newly empowered people sought compassion, equality and generosity.
What are the biggest sustainability challenges in your work and how are you addressing them?
Iron, and all of the other materials I work with, are pretty special. They last forever, don’t poison the planet or the people using them, and can be recycled in 900 years if someone is inclined. Also, you can find discarded steel everywhere and make something useful out of it. Most of my iron wares are made from scrap.
Which conscious lifestyle choices are you making? And are you considering any new ones?
I seriously consider an object before bringing it into my life. Lately I have been thinking frequently about how introducing one object to an environment can shift my perception of everything else. There is ideally a harmony or at least a discussion between each of the objects in a space, as well as between the objects and the larger environment. In this way, a world is created that guides my emotional, intellectual, spiritual and social experience. So I consider each addition carefully.
What have you rebelled against in the past, and what are you rebelling against now?
I think working artists are inherently rebellious.
Do you use your own work?
I do use my own work. This is a fairly new development in my practice, I am learning to keep certain objects. I used to sell every object, or give them away, because to be honest I couldn’t afford to keep them. But now I am rebelling against that notion and choosing to hold onto some pieces anyway. I find that there’s a lot of value gained from using, and living with, the things I make. I learn the long-term functionality and sustainability of my designs and figure out how to improve them.
Do you think cutlery can still be improved? If yes, in what way?
I think all objects constantly evolve. There’s no fixed, best manifestation of any object, it must be judged within the context of the culture for which it is created, the people experiencing it, and the people impacted by its creation, amongst other things. Which is to say, I can continue exploring this work for the rest of my life! Of course, there are artists who do the same thing repeatedly without fundamental change, like Wolfgang Laib, and that repeated act is their message. Improvement is not always the way I assess an object All of this said, I would always love to see more people own objects that are handcrafted rather than mass produced.
What was the inspiration for your Steinbeisser pieces?
Utility, efficiency, and function.
Describe your work in 3 words!
Queered. Comedic. Impossible. Transposed. Delightful. Surprising.
What kind of materials do you use and where do you get them from?
I primarily use mild steel but sometimes use copper, brass, and silver that I buy from the local metal yard.
What has been your favourite dinner experience?
I can’t wait to have dinner with my partner, who I have not been in the same room with for six weeks!
What excites you about tomorrow?
The possibility of change. Socially and politically engaged youth. An impending road trip.
What are you 3 favourite pieces on Jouw…?
The Gold File Spoon by Nils Hint, the Oyster Spoon by Jeffrey Clancy, and the Comb Spoon by Stuart Cairns.