with each slam of the hammer, a shockwave is sent out through the entire piece, threatening its very integrity. the work could crack at any moment. a unique dedication that is truly worthy of celebration. Even though a year may seem an eternity to create a few new pieces for exhibition, it’s not. Especially for one who chisels in stone, the days have a way of turning into months before a piece can rightfully be considered completed. Stone sculpture has to be one of the most difficult mediums for an artist to work in. Because it is a reductive process, once something has been taken away it can’t ever be put back. There is no painting over the lines or erasing mistakes. For that reason the spatial considerations are immense. One has to be able to compose mentally in three dimensions and then bring that vision into fruition without any second chances. A redo means starting all over again. Working from one’s mind and not a model is especially difficult. Not many are capable of it, which is one reason why the stone sculptures of local folk artist William Edmondson, one of Tom’s major influences, can command over six figures at auction.
Pinnacle Bird (detail), Recycled limestone, Victorian lintel fragment, pine, and marble, 70” x 15” x 7”
As the artist chips away, a special bond is created between the work and its master. The artist might even start to treat the piece like a pet, cajoling it and holding it with the same care as if it were alive. When a painter nears the completion of a special work, an excitement and a joyful energy can erupt from within, pushing the painting further on. For a stone sculptor, the excitement exists, but it can be coupled equally with a disabling stress stemming from the fear that something terrible is about to happen. Because, with each slam of the hammer, a shockwave is sent out through the entire piece, threatening its very integrity. The work could crack at any moment.
Bear Claw, Recycled limestone step, direct carved, 6” x 30” x 18” 70 | January 2O14 NashvilleArts.com