Tim graduated college in 1984 with a BFA in sculpture and painting, minor in art history, with the intention of becoming an art professor. But having a family altered the plan, and he wound up working in art foundries. When one foundry he worked in closed, he started his own. For 20 years, he helped artists bring their creations to completion. About six years ago, and after lectures by his brother and others, he decided that the kids were self-sufficient enough and it was time to strike out on his own as an artist.
Tim creates sculptures with intent, and there is a story with each. Many of them are inspired by Scythian creation myths, and more specifically from tattoos discovered on Scythian mummies. The twisting, which is thus far Tim’s work’s most distinguishing characteristic, represents the animal’s birth, transitioning from the spirit world into the real world. But that’s just a jumping off point.
“There are many works of art that tell you what they are about, and what to feel,” says Tim. “I’m trying to have a conversation with the viewer. I want it to inspire questions. I try to leave it at a point where it does just that. I want to inform them on what I think, then ask them what they think.”
Because of Tim’s background in art foundries, he does everything with his work, even the stuff most bronze artists farm out to … art foundries. He tries not to make his bronzes perfect, however.
Autumn Winds web
“I want some of these things to have a handmade look. Some are smoother than others, but I don’t want them to be too polished and slick. I’ll leave artifacts of the process,” he says. “It’s part of their lifecycle.”
The patinas he uses often make them appear to be some other material, like marble or even wood. “The more I deliberately confused the medium, the more it drew people in,” says Tim.
And drawing people to his work is what keeps Tim striving to grow as an artist.
“I just keep trying to make better art,” he says. “I see two forks in the road, and I’m going to take both of them. Every time I’ve ignored everyone else and did something for me, people have reacted to them.”
From Tim’s Official Bio:
My sculptures are a synthesis between my love of nature and my respect of the great artists who have come before. As an avid hiker, hunter, and I have never lost my sense of wonder about the beauty of a leaping deer, the power of bull elk fighting, or the grace of antelope running. As a student of the process of creation and art history I have never lost my sense of wonder at great art to communicate to me and move me to greater levels of awareness. Whether it be individual artists like Brancusi, Manship, Marini, Moore, Van Gogh, or the art of antiquity like Scythian, Celtic, Oriental, Egyptian, African; I am always amazed at the number of ways our species has come up with to see, interpret and convey their views of life and the nature of it. I find these voices resonate with me and my sense of wonderment of my world; both my inner world and the universe with out. I seek out and embrace these influences, and consciously draw on them for the base substances of my sculpting. As a sculptor friend once said to me, “Those who claim their art is truly original simply can not remember where they saw the source of their inspiration.” I hope only to credit my sources properly and remain open to their wisdom.
If I was pressed to explain my current work in one word, I would say it is about “transition”. The concept of transition was inspired directly by ancient Scythian tattoos; which some believe are depictions of creation myths. The twisting Birth of the Sacred Stag sculpture is depicting the 1st stag at the moment of creation when he is transitioning from the spirit world into physical world. The style is one of smooth transitions of form and line to augment the concept. This is a reflection of my belief that good sculpture generally is a marriage of concept, style, and execution.