By heat, hammer and hand, a new beauty emerges, moulded to the anvil’s chime.
Words by Jamie Crocker
In the rural tranquillity of Yalberton’s verdant valley, where Devon’s pastoral rhythms flow from season to season, Angus Wood’s forge crackles with the alchemy of fire and steel. It is a place where the past converses with the present and where the ancient craft of blacksmithing finds renewed vitality in the hands of a young artisan whose work embodies both tradition and innovation.
For many, the term ‘blacksmith’ conjures a romantic tableau from a Ladybird book: a weathered and stooped figure shoeing a horse, sparks leaping in a dimly lit forge. But Angus is a modern blacksmith, his craft rooted in heritage yet elevated by contemporary methods and market preferences. His forge, which butts up to an old cider factory, is not just a functional space but a paean to the past – a place where he shapes not only metal but also his connection to a lineage of makers stretching back centuries.
“There’s something incredibly fulfilling about making things,” Angus says, his voice carrying the warmth of someone who truly loves what they do. “The possibilities are endless.” This love for creation is evident in his portfolio, which spans functional kitchenware, architectural accents and bespoke fireside accoutrement. Yet, what truly sets his work apart is his commitment to individuality in a world that, over the decades, has become increasingly dominated by mass production. He stands alone as an individual creator.
Yalberton is more than a picturesque backdrop; it’s a vibrant hub of creativity. The area’s proximity to Totnes, known for its concentration of independent shops and craftspeople, has fostered a community where traditional skills thrive. “There’s a real community of makers here,” Angus explains. He sells some of his work in a shop in Ashburton, where the owner maintains close ties with all the crafters who supply the store. This network of artisans forms a kind of ecosystem, each drawing inspiration and support from the other.
It’s a community that attracts a discerning clientele – those who appreciate the uniqueness and effort behind handmade items. “Traditional craft is niche,” Angus acknowledges. “It’s not for everyone, and by definition, it’s more expensive. But there’s a growing appetite for pieces that are made with care and have a story behind them.”
This sense of place and community influences Angus’s approach to his craft. Yalberton’s rich artisan culture has created a “honeypot” effect, drawing both makers and buyers who share an appreciation for quality and craftsmanship. It’s an environment where tradition meets a modern sensibility, where someone with Angus’s sangfroid disposition can thrive.
At the heart of Angus’s work is a blend of age-old techniques and modern materials. Blacksmithing, he explains, revolves around seven fundamental skills: drawing out, upsetting, punching, slitting, bending, twisting and forge welding. These techniques, mastered over the years, allow him to manipulate metal into almost any form. Yet, Angus’s approach is far from archaic.
“I don’t often use forged iron,” he admits. “Eighty to ninety per cent of my work is made from mild steel. It’s more affordable and readily available.” While purists might baulk at the departure from traditional iron, Angus is pragmatic. Mild steel, with its small carbon content, offers versatility and cost-effectiveness, making it ideal for functional pieces like coffee scoops and ladles. He also forges stainless steel, which, though non-traditional, is perfect for kitchenware thanks to its resistance to rust.
Copper, with its warm, lustrous tones, is another favourite material. “The contrasting materials look fantastic together,” he says. Yet even as he pushes the boundaries of his craft, Angus remains deeply respectful of its roots. “I have a massive pile of iron I use for specific projects,” he notes, emphasising its unique qualities despite its expense.
For Angus, the tactile nature of blacksmithing is part of its enduring appeal. The act of heating, hammering and shaping metal is not just a means to an end but an immersive experience. “It’s hot, it’s intense,” he says. “And the possibility of what you can make is absolutely endless.”
Angus’s journey into blacksmithing feels almost predestined. Raised in a family of craftspeople – his father a green oak framer and his brother a carpenter – he grew up surrounded by the ethos of making. “I guess I’m the black sheep of the family,” he jokes. “But it always seemed natural to me to become a maker.”
His home and forge share the same plot of land as his family’s farmhouse, with his grandmother living just down the hill in a converted barn. It’s a setup that mitigates the isolation often associated with solitary work. “I don’t find it isolating,” he says. “With my family around, there’s always a sense of connection.”
But Angus’s love for crafting and blacksmithing, in particular, isn’t merely a familial inheritance. It manifested itself in childhood via the seeping incursion of an awareness that was unconsciously gifted to him. It was back in Bristol that his father had a strong friendship with a blacksmith, and though that friend’s life was tragically cut short, his influence lingered, sowing the seeds of Angus’s future craft. This connection to the past is something Angus cherishes, imbuing his work with a sense of history and continuity.
For all his passion for making, Angus admits that the business side of blacksmithing can be challenging. “If I could, I’d have forge fairies to sell my work and just bring back the money,” he quips. Yet, there’s an undeniable satisfaction in knowing his creations find appreciative homes. “Before Christmas, I sold a lot of pieces, and it’s nice to think of people opening gifts that I’ve made on Christmas morning.”
Angus sells his work through multiple channels: his website, which accounts for a significant portion of his sales, local shops and craft fairs. These fairs, while physically demanding, offer a sense of camaraderie with fellow exhibitors. “It’s an itinerant community,” he says, noting the shared experiences of long days and the thrill of connecting directly with customers. This year, his schedule includes prestigious events like the Great Northern Contemporary Craft Fair in Manchester and a show in Cheltenham.
Craft fairs are not merely commercial ventures for Angus; they are opportunities to engage with a wider audience and showcase the narrative behind each piece. His wife, who is a talented ceramicist in her own right, plays an integral role in managing stands and interacting with customers, “She’s much better at that sort of thing than me,”he quips.
As with many traditional crafts, sustainability is a complex issue in blacksmithing. Angus intercepts offcuts of steel – sections too short for industrial use – and repurposes them in his work. “It’s not as sustainable as I’d like it to be,” he admits. “But I do what I can.”
One potential game-changer is the induction forge, an electric alternative to his current setup of propane, coal and anthracite. “It’s a big investment,” he says, “but it would make a huge difference.” Such a shift would align with his broader goal of reducing the environmental impact of his craft. For Angus, sustainability is not just about materials but also about creating objects that endure, rejecting the disposable ethos of modern consumerism.
Ultimately, what drives Angus is the sheer joy of making. “When I emerge from the forge with a load of products, it’s so satisfying,” he says. It’s a fulfilment that transcends the physical demands of the work or the dust and heat of the forge. For Angus, blacksmithing is not just a livelihood but a calling, a way to connect with both the material world and a deeper sense of purpose.
As the forge glows in the heart of Yalberton, Angus Wood’s work speaks to a timeless human desire: to shape the world with one’s own hands, leaving behind objects that carry not only function but also meaning. In a fast-paced, disposable age, his craft offers a reminder of the beauty in patience, skill and individuality – qualities that are as enduring as the metal he so lovingly transforms. In his hands, blacksmithing is more than a profession; it’s an art form.
Cheltenham Craft Fair takes place in the town hall and runs from the 21st to the 23rd March.
