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In this interview we asked Jon how he got into the business of working with museums curators to make metal mounts. He had a broad range of job experiences before he ever came across this industry, but Jon’s knowledge of foam, acrylics and brass keeps making him the perfect candidate for welding mounts for historical artifacts such as boots, hats, swords and bones.
Jon worked as a fisherman for twenty years. However, after a pretty serious injury he retired from it, and was not sure what to do next. During his time offshore he had become an expert in different species of fish, diesel engines, electronics, and metal fabrication, but he was unsure of how to apply this knowledge to something interesting onshore. Jon felt his career had stalled.
Looking through a newspaper, Jon saw a listing from Metalworking Newsgroup, it said that a family in Virginia needed assistance with the installation and mounts for the Pequot museum. After applying, Jon was hired for this project, and over the next six years he continued to work with them on a number of different projects.
Jon decided to move back home to RI to start his own client list. This turned out to be a little more challenging than he expected, because this niche industry is based on trust, and people were not familiar with his work. However, once Jon landed his first project, he subsequently began receiving calls from other private collectors and museums. His first major project was with the Yin Yu Tang house at the Peabody Essex Museum.
Jon’s client list now consists of over 20+ museums and private collectors. Through the years, he has gathered a reliable team of specialists to assist him in different projects.
Data provided by the Bureau of Labor Statistics is broad and based on different jobs/industries that do metal and plastic molding work using machinery, which is projected to decline due to new advances in technologies. However, jobs will continue to exist for people with software and engineering degrees that will operate these machines. Mount making is a specialization and it requires years of experience with different metals and an understanding on how to safely handle historical artifacts.
Vis alii modus mediocrem ei. Te est animal persequeris, eos sumo clita no. Diceret definitiones in vim. Vel consetetur quaerendum in, ius inani similique no.
Vis alii modus mediocrem ei. Te est animal persequeris, eos sumo clita no. Diceret definitiones in vim. Vel consetetur quaerendum in, ius inani similique no.
Vis alii modus mediocrem ei. Te est animal persequeris, eos sumo clita no. Diceret definitiones in vim. Vel consetetur quaerendum in, ius inani similique no.
Vis alii modus mediocrem ei. Te est animal persequeris, eos sumo clita no. Diceret definitiones in vim. Vel consetetur quaerendum in, ius inani similique no.
I learned by mistake, I learned by doing.
Problem solving skills are very important, because every artifact will be different, with different levels of damage or fragility and one must have a good understanding of chemistry, physics, and mechanics to be able to support these artifacts without damaging them. Physical stamina and strength is also important to be able to work long hours with heavy metals, artifacts or containers. Communication skills are also crucial so one can work closely with museum curators to understand what is possible with regards to the way artifacts are displayed.
Optimism is the faith that leads to achievement.
Nothing can be done without hope and confidence.
– Helen Keller
