Kirk forging in the workshop

The past and present blend in my blacksmithing shop where in the far corners set two Little Giant trip-hammers that in the early 1900’s pounded out plow shears on a South Dakota farm. Their cumbersome 2000 lb. frames dwarf the 220 lb. anvil set on a wooden stump next to a propane forge where flames lick at the air outside its fiery depths. Along the north wall awaits a¬† hydraulic press used on knives such as the Don’t Fence Me In bowie. These pieces of machinery, whose invention spans over a hundred years, work together to create each knife. With these tools mental images are conceived.

These ideas formed from accumulated impressions left from thumbing through books and magazines with photographs of California  daggers from the Gold Rush era, coffin handle bowies of the Texas Rangers, and folders of all types evolve into drawing that are transferred to metal. Because of this probe into the works of the historical blacksmiths and their artistic contributions, I am enabled to move forward and build upon the past creating knives that are masters of art and function.

This keen interest in design has led to a long time relationship with Al Mar Knives. We have worked together on a number of knife projects and currently they are producing several of my designs; the Shrike, Nomad, Payara, Backup I and Backup II.

Most recently I became part of the design team at 888 Professional. In production is the Wright Knife and SOL that I developed.

Creating custom knives and working with factory production companies gives me a panoramic view of the knife world, the limitations and benefits to each side. This broad scoped market has expanded my abilities and allowed me to design tools along with art, outdoor, and gentlemen knives for a diverse audience.

American Bladesmith Society