Darryl Reeves forges New Orleans' iron heritage at Andrew's Welding
The master blacksmith is restoring historic structures like the Cabildo fence while training an apprentice who studied historic preservation at Tulane.
By Gavin Wilson ·
Darryl Reeves stands in his New Orleans shop, hammering raw metal into shape. He is one of the few practitioners still working with iron by hand to maintain the city's distinctive architecture. This labor-intensive craft defines the balconies, fences, and gates that have withstood fires and hurricanes for centuries.
Reeves, who runs Andrew’s Welding and Blacksmith Shop, traces his connection to the trade back to his grandfather. As a boy, he was often sent away from the workshop, but he remained captivated by the process. He recalled watching workers beat metal while sparks flew. “I think that had a lot of influence with me enjoying to work with metal,” Reeves said.
The blacksmith creates everything he needs, from iron hinges to hand-forged designs resembling metal leaves. He even forges his own tools. His work extends to restoring historic sites throughout the city. Recently, he completed work on the fence in front of the Cabildo, relying on architectural plans that date back to the 1790s. “That’s learning from the past. That’s given a conversation with the person that actually fabricated it,” Reeves said.
Reeves is now passing his skills to a younger generation. His apprentice, Karina Roca, moved to New Orleans from Boston to study under him. Roca watched a PBS program featuring Reeves more than ten years ago and decided to pursue the craft. “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.’”
Roca has worked in the blacksmith shop for five years. She is currently earning a master’s degree in historic preservation at Tulane University. She views the work as a way to maintain the visual identity of the city. “It works in so many ways to kind of keep this aesthetic of New Orleans alive,” Roca said. “It’s very Spanish. It’s very West African. It’s very French. So it’s sort of this symbol, this beacon of a space where all of these cultures have come together for centuries now.”
Reeves continues to shape iron in his shop, blending traditional techniques with modern restoration needs. He views the job as a method of preserving history and culture. The workshop serves as a physical link between the city's past and its present, one hand-forged piece at a time.
