- Joined
- Jan 21, 2000
- Messages
- 8,888
As we know, Jerry stopped taking orders some time ago, when he realized he was just not being allowed time enough to discover. From what I've seen lately, his voyage of discovery looks to be a promising ride.
This recently received Hunter-Killer model qualifies in my mind as nothing less than art--a highly functional piece of art, but art nonetheless.
Heres the functional part: 13 inches overall, 7.5 CPM3V blade just under ¼ thick at its thickest, tapered tang, stabilized maple burl grips, 13 ounces. Balance point is mid-bolster. This is a big, tough knifea consummate working fighter, built to take on any task and to survive (and wreak) a lot of punishment when called upon.
And now to the art: Certainly, the term art applied to bladeware means different things to different people, and there are many knifemakers out there capable of applying impressive finishing techniques and embellishments to blade design. But in my opinion, there are examples of Jerry Hossoms work that cut through to a new level where they stand alone. His knowledge of fighting blades combines with an evolving sense of design to give his work a purity of function which has proven itself time after time. That he is able to so adeptly interpret the demands of function via the creation of such visual elegance is, I think, his own personal genius.
As I told Blues in a private conversation recently, I bought this particular knife because I just couldnt help myself. When I first saw this version of the H-K, the lines and balance blew me away. No attribution is necessary. Most who have spent any time on the forums would recognize it immediately as Jerrys. How many other makers can say that about their knives? Very few. And of those, how many can say that what is distinctive in appearance about their knives also makes their knives perform better? Fewer still.
Its hard to put my finger on what captures my imagination in this knife. Of course, the recurve is eye-catching, but it's also functional in its shearing power. The forward line of the swedge flows parallel with the forward segment of the recurved edge in a way that might look contrived, if it weren't for the very precise and functional line of that dropped point. To me, it's as if he merged the imaginary side of his creative mind with a superbly practiced eye for function, and found a way to make the fantasy work best, after all.
I'm sure the handle design for this particular knife evolved from the weight and balance of the piece, but there again, the curves and "swoops" are so well orchestrated that it looks as if the handle were designed purely to delight the eye. When you look at all the variations of that grip shape he uses for all its different applications, from 4 hunters to long swords, its obvious that Jerry doesnt do this just for visual effect. But on this handle, the curves are very nearly symmetrical. The reason for that shape is a combination of balance and ergonomicsit just happens to look and feel like sculpture.
Jerrys finish work on this one is impeccable, as always. No photo can do it justice. His grinds gracefully leave steel where strength is needed most, while elegantly carving away every excess gram of weight. The highly figured maple burl begins flame orange behind the brass spacer, then darkens to taupe, then dark chocolate into ash blue. The visual intrigue created by mosaic pins and thong ferrule, the flow of the grip contours, and the interesting spacers never fail to hold my eye. But that's true of everything he doesalways strong, always subtle, always in good taste.
For me, though, this particular HK comes close to something beyond what's been done before. It works both in the imagination and in the hard world where serious blades are used.
Will I beat the hell out of this one to prove that to myself? What do you think?
-w
