We were lucky to catch up with Leslie Tharp recently and have shared our conversation below.

Leslie, thanks for taking the time to share your stories with us today Can you talk to us about a risk you’ve taken – walk us through the story?

One of the early and very risky projects was one of my first large public art projects when I was somewhat new to executing contracts and building to a large scale. This piece was for a local hospital, and the art committee commissioning the project knew of me and my work through several local channels and chose to take a chance on me. For both my reputation and technical abilities, this was a big opportunity to show what I could do.

The interior of the hospital was designed with an aquatic theme to engage their primary patients, who were normally children. This portion of the hospital was dedicated to surgery and these children and their worried family would need to show up on surgery day, but the location the entrance to the surgery wing was hard to find.
Part of the prompt was to incorporate an aquatic theme into the peace, and to make it very bright and bold so that the families could be directed towards it when they arrived and would be able to find the correct entrance for their morning appointment.

I ran numbers, created a budget that would work, pitched my idea for particular form I was most interested in exploring, and once I was given the greenlight my nerves suddenly hit. This piece was 13‘ x 13‘ and involved two dolphins fluidly swimming around a school of fish. There would be big curving lines and a lot of gestural movement and huge heavy strips of metal. My palms would sweat when it was time to work and I would find nearly anything else I could to consume my time. I finally decided to set a timer in the studio, and I would commit to “moving” around the piece and the shop for 30 min before taking a short break. Moving meant adding, bending, subtracting metal, and making quick decisions because I knew when I had a break I could stand back and decide what wasn’t working. In the moments of overwhelm I would remind myself that I was actually doing everything right, as long as I was moving.

That little trick put me in motion, and after a couple weeks of having to give myself that format for working I was finally able to ease into the flow of the project because I had built the confidence that I was perfectly capable of working through the challenges, if I could just keep going.

When the piece was complete and it was time to install, we needed to move the sculpture outdoors to be lifted onto a flat bed truck by a crane and transported to the site. I’d designed the dolphins to be removeable and the primary section of the sculpture to be just small enough to pass through the shop doors and brought to the outside. Down to the wire, we pulled the dolphins and carefully wheeled the piece out. The thinnest part of the sculpture was able to clear the shop doors with 3” of space! Time for applause!!

That was a great project and I learned a ton. It built confidence in me to just keep moving forward and it taught me that the act of taking on risk is more valuable for long-term growth than always sitting in comfort.

Leslie, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

My name is Leslie Tharp, and I am a metal artist based in Gainesville, Florida. My journey into metalworking began at the University of Florida, where, during my Fine Arts studies in 2007, I was captivated by the paradoxical nature of metal – its perceived rigidity alongside its actual grace and flexibility. I was then able to explore blacksmithing specifically through a two week workshop at Penland School of Craft. I fell in love! In my work, I blend traditional blacksmithing with modern fabrication techniques, crafting both large, fluid sculptures and bespoke ironwork for private homes. I find joy in navigating both the public art sphere and the private domain, offering my clients unique pieces that enhance their spaces.
Additionally I offer hands-on classes in both blacksmithing and welding through my teaching center – [Fe]ver Metal Art Center. I love increasing entrance into the craft and observing the excitement and empowerment that comes from the experience of a complete beginner is invigorating! I hope to continue to encourage more interest into this field of art and craft.

Do you have multiple revenue streams – if so, can you talk to us about those streams and how your developed them?

Yes, my business thrives on multiple and supplementary revenue streams, each contributing to a robust and dynamic financial foundation. This diversity not only supports my artistic endeavors but also buffers against the ebb and flow of market trends and industry shifts. A significant portion of my revenue comes from coordinating large public art projects. These are typically funded through public sources and showcase the breadth of my skill and artistic vision. Collaborating with public art boards, I engage with diverse professionals including artists, architects, city planners, and community enthusiasts. This interaction not only fuels my creative process but also broadens my professional network.
Another vital stream is my work with design firms, pairing me with large businesses like hotels and restaurants. While local clients often find me organically, out-of-state commissions frequently come through these firms, offering a more streamlined connection to a wider clientele.
I particularly cherish working with private homeowners, crafting custom metalwork that tangibly enhances their daily lives. These commissions range from high-end custom pieces to more budget-friendly items, accessible through e-commerce platforms and local networks. This versatility allows me to cater to a diverse client base, each seeking a unique touch in their personal spaces.
Outside of creating art, teaching metalworking classes adds another layer to my business. Witnessing the joy and excitement of students discovering metalworking for the first time is invigorating. Teaching also contributes financially, supporting the maintenance and enhancement of my well-equipped metal shop.
Each of these streams, though varied and eclectic, are integral to my practice. They not only reflect my versatility as an artist and entrepreneur but have also been essential to the development of my career.

Can you tell us about what’s worked well for you in terms of growing your clientele?

The diversity of revenue streams I’ve previously mentioned has been important for both the financial support of the business development, as well as the cross pollination of client growth. For example, I find that my hands-on classes fuel excitement as well as an appreciation for the time and skill required to create metalwork. And occasionally I receive a call from those students later on, once they have a specific space they’d like to commission work for. So, although it is not a direct cause and effect, I’ve found the diversity of my offerings has allowed me to build a reputation in several markets that eventually feed interest in the other.

Contact Info:

• Website: LeslieTharp.com, FeverMetalArtCenter.com
• Instagram: LeslieTharpDesigns, FeverMetalArtCenter
• Facebook: LeslieTharpDesigns, FeverMetalArtCenter

Image Credits
Roots is photographed by Melissa Harmer The Chase (large dolphin sculpture) is photographed by Ian Clontz