Gopal Krishna Tamrakar (literally Tamrakar means a person who shapes copper) is thirty-four years old. His late father, Mohan Man Tamrakar, dedicated his life to the metal sculpting trade and died a few years back. Both Gopal and his father learned the trade in the family, from their grandfather who taught them his ancestors' trade. Coming from a metal sculpting clan as far back as he can remember, Gopal's immediate family includes his mother, sister, wife, and son. They belong to a Hindu clan of metalworkers and their family name distinguishes them as quality metalworkers. They make statues of Hindu and Buddhist deities and some of his clan are engaged in restoration of temples around the Kathmandu Valley. They work with brass and bronze as well and also produce traditional jars and plates as well as pieces that were commonly used in ceremonial events. Gopal completed his MBA in 1992 at a time when the metalwork business was strong. Now that the business is not so good, he feels he is out of touch with the rest of the commercial world. He is not certain if his two-year old son will continue in his trade, for he fears that financial opportunities are becoming limited in this field. If his son does not choose to work in the metal trade, a long line of metalworkers will end with him.

According to Gopal, sculpting metal is a lengthy procedure that requires great skill. A large piece of art can take up to six months to create and several people need to work on it. Crafting the work by hand is sometimes exhausting though Gopal has developed a powerful connection with his work. Acquiring an MBA he envisioned an expansion to his family trade and opened a shop on the ground floor of his house on Chokrabahil Street in Patan ten years ago. "The market is now only somewhat reliable from November to May during the wedding season," he says. He has witnessed a marked change in the market over the years. From what used to be a strong, restricted trade, more and more competition, lack of tourists, and careless work is adversely effecting his trade.

In the past, most of his work was sold in the local market. As rececntly as 1998, the production of metal art was government controlled in many ways. The secrets of quality metalwork was kept restricted to a few families. Knowledge of the skill was passed down generation to generation and was guarded from those outside the family circle. "When there were less Tamrakars and the market was controlled, business was good," said Gopal. There was a government-imposed limit of 3,000 kg of materials that a business could buy each year. If one wanted to use more they would have to buy raw material from other Tamrakars. There were only a few shops around and all the workshops had to sell their art through these shops. "They controlled the local as well as export markets and all Tamrakars worked for them. Now there are no limits as to who can work in this field or how much they can produce. Many workers who once worked in these family shops have opened their own workshops and shops. The Tamrakar hand-work their metal and this is a time-consuming process that does not allow for large quantity art production. There was also a need for originality. However, with all the new stores that have opened up, art is being copied or duplicated. Shakyas are another clan that make metal art using the lost-wax method. The Swarnakars work with gold. Today, factories are also in place and threaten the livelihoods of home based family lines and clans. They can produce vast quantities of metalwork and create competition that is hard to match. This has resulted in cheaper mass-produced metalwork.

Gopal's shop usually employs three laborers in temporary capacity. From the viewpoint of the laborers, this is a major problem as they do not have job guarantees, benefits, and protection. Gopal's enterprise does not fall under the labor act as the act requires a business to employ at least ten laborers for the formation of a trade union and the subsequent protection that the law provides. Those who work in metalwork factories may be in the position to receive protection. Gopal's laborers come from the Biswakarma clan (they are named after the god of engineering and craft). They work with metal in their villages and migrate to Kathmandu when they need income supplements. They typically work from daybreak to dusk but as Gopal's is a family business his hours are somewhat flexible.

Tamrakars, originating from Kathmandu, have also traveled all over Nepal to start up businesses and some have even taken their trade and skills to India. They are adapting their work to the needs of the modern day market, for example, water filters. But he is worried that his traditional pieces will lose value and he will have to increase production while sacrificing his art skills. His business produces both modern and traditional work and he feels torn between the two.

He says that copper, brass, and bronze are imported from Malaysia, United Arabian Emirates, and other countries. Some traders say that their raw material is processed in Japan or Taiwan. Gopal buys his materials, labelling them "scrap" from local associations to save costs because he receives no facilities as a small business when buying supplies and the government offers no channels through which he can request and receive help. However, he and his family pay very little tax and as his business is small, he feels that export and publicity are the only ways for a metalworker today to make money. In fact, according to Handicraft Association of Nepal (HAN) statistics, the export of metal art was up fifteen percent in 2000/2001. Gopal sometimes goes to HAN when he is in need of support. The association has been providing training in metalwork and also has data and information.

Gopal wishes that "the market was restricted again as it used to be so that life would be better." If business improves, he is sure he will teach his son the skills that his father taught him. Otherwise, his son will receive a modern education and choose another walk of life.