New Orleans Blacksmith Darryl Reeves Restores Historic Ironwork with Young Apprentice
Reeves, one of the last practitioners of the city's ironwork trade, has trained apprentice Karina Roca for five years while repairing structures dating to the 1790s.
By Oliver Bennett ·
Darryl Reeves continues to forge iron in New Orleans, maintaining a craft that has defined the city's architecture for centuries. At Andrew’s Welding and Blacksmith Shop, he works on fences, gates, and balconies that have endured fires and hurricanes. Reeves is one of the few remaining blacksmiths in the city who practices the trade in the traditional manner.
His connection to the work began in his grandfather's shop. As a boy, Reeves was often shooed away from the forge, but the sight of sparks flying and metal being hammered left a lasting impression. "We used to just pass through and just watch these guys beat on this metal with the sparks and all," Reeves said. "I think that had a lot of influence with me enjoying to work with metal."
Reeves specializes in transforming raw metal into functional and decorative items, including hinges and hand-forged designs such as metal leaves. He also fabricates his own tools. A notable part of his work involves restoring historic ironwork using original plans. He recently repaired the fence in front of the Cabildo, a structure built in the 1790s. "That’s learning from the past. That’s given a conversation with the person that actually fabricated it," Reeves said.
The shop now serves as a training ground for the next generation. Karina Roca, an apprentice from Boston, has worked under Reeves for five years. Roca is currently pursuing a master’s degree in historic preservation at Tulane University. Her interest in the profession was sparked by a PBS program about Reeves that she watched more than a decade ago.
"Well, I’ve always secretly wanted to be an iron worker," Roca said. "And then I saw a PBS program on Darryl Reeves over 10 years ago at this point, and I was like, ‘Yep, I’m going to study under that guy.’" She views the craft as a way to maintain the city's unique aesthetic, which blends Spanish, West African, and French influences.
Reeves finds satisfaction in the physical nature of the job. "That’s what gives me joy," he said. "How many people get to beat on metal, especially if you’re frustrated with something and get it out? How many people do that?"
The shop continues to operate in the heart of New Orleans, where Reeves and Roca work on commissions that preserve the city's architectural history.
