Exploring Tinwork

Lately, I’ve been diving into the world of tinwork — not just as a craft, but as a way to deepen my connection to New Mexico’s artistic traditions. I’ve always been drawn to the shimmer of punched tin: the way it catches the light, the texture of the surface, and the intricate designs that feel both old and alive. It’s everywhere in Northern New Mexico if you look closely — framing mirrors, glowing behind altars, hanging in the form of luminarias or chandeliers. It’s a language I’ve wanted to speak in my own work for a long time.

At first, I imagined using tin simply to frame my paintings. Oil on canvas can live beautifully inside a warm, reflective edge — and punched tin offers a material that doesn’t just border the work but becomes part of the storytelling. The light that bounces off the patterns brings a new dimension, especially when paired with portraits or figures rooted in cultural memory.

But the more I learned, the more possibilities opened up. I started thinking about tinwork not just as a decorative flourish, but as a medium for functional design. One idea I’m particularly excited about is crafting a custom tin backsplash for behind a stove — something practical that also honors tradition. I want it to feature hand-punched patterns that nod to Northern New Mexican motifs: stars, crosses, and geometric blooms like you’d see in old santos or church paneling.

And then there’s the lighting.

I’ve always loved how traditional tin sconces and chandeliers create mood — casting soft, dappled light across adobe walls. I want to build my own versions. Not replicas, but pieces inspired by the forms that have lived in this region for generations. Something rustic, but elegant. Sacred, but usable. Light that tells a story. The work of Justin Gallegos Mayrant is wonderful.

As I explore this process, I’ve been researching materials and techniques — trying to find the sweet spot between historical accuracy and modern convenience. Here’s what I’ve found works well:

• Tinned Steel Sheets: These are close to what artisans historically used — mild steel coated with tin for shine and workability. I like working with 28–30 gauge; it’s easy to punch and holds its shape beautifully. Online Metals seems to have a good selection.
• Aluminum Sheets (2024-T3): A more modern option that’s lightweight and bright, though harder to solder. Still a good choice for backsplashes or wall pieces.
• Carbon Steel Tin-Coated Sheets (0.013″): It punches cleanly, looks great, and takes solder well.

When it comes to soldering pieces together — especially for frames and 3D forms like lighting fixtures — I’ve learned that a standard soldering iron or butane torch works great for tinned steel. A bit of flux, rosin-core solder, and some patience go a long way. For aluminum, it gets trickier — it requires special flux and solder rods, and more heat control. But it’s doable.

This is still an early chapter in my tinwork journey, but I’m finding it to be a rewarding mix of utility, history, and creative experimentation. It feels like a bridge — between function and art, between old traditions and new expressions. And for someone like me, who is always trying to bring New Mexican identity and soul into the things I make, it feels like the right path to follow.