ABOUT THE ARTIST
Tim produces sculptures that not only attract the viewer’s eye but also invite the viewer’s hand. Born in Calgary, Alberta, in 1965, Tim grew up in Nelson, a town nestled among the rugged Canadian Rockies in southeastern British Columbia. It was there he developed a deep love for wildlife and the outdoors. Escaping into the wild was then—and still is—a spiritual experience.At sixteen, Tim began working summers as a cook and wrangler for a hunting outfitter, which took him into the wilderness of northern British Columbia. By the time he was eighteen, he was guiding his own clients on two-week trips.The next twelve years saw Tim working with other outfitters who ventured further into the vast expanses of the Yukon and Northwest Territories. Throughout all of these experiences, Tim’s keen eye and mind were recording the shapes and movements of the wild animals in this remote landscape. His love for these creatures sparked an interest in taxidermy. Although unaware at the time of any aspirations toward fine art, his path was clearly heading in that direction.At age 19, Tim contacted taxidermist Forrest Hart, who welcomed him to his workshop in Hampden, Maine. Hart specialized in sculpting mannequins—the artificial bodies used by taxidermists. As a student, Tim’s hands and mind became skilled in modeling animal musculature. He sculpted forms for the taxidermy production process while learning animal anatomy from the inside out. Tim also observed Hart as he prepared a sculpture to be cast in bronze. Accompanying him to a New York foundry, Tim experienced the fascinating and magical process of fine art bronze casting for the first time. That moment marked a turning point—this would be the year Tim completed his first sculpture.In 1988, while living in Canada, Tim met noted sculptor Dan Ostermiller, who invited him to visit his studio in Loveland, Colorado. “Ostermiller gave me the opportunity to begin my career,” Tim said. He then went on to work in the studios of both Ostermiller and Fritz White, learning the skills necessary for the sculptural process.According to Tim, “I learned direction, enthusiasm, and perseverance from Fritz White. He taught me the importance of mass and volume and gave me the confidence to keep trying different options, never quitting on a design. Fritz was, and still is, a source of inspiration and a mentor.” White also gave Tim the opportunity to try stone carving in his studio. Carving alabaster, Tim began to discover within it the shapes of the animals that would become his life’s work—experimenting with graceful, simple lines and forms.Tim explains, “My sculptural approach involves the use of simplified shapes and lines to produce curvilinear forms. I enjoy orchestrating these elements into sculpture that is rhythmical, flowing, and inviting to the touch. Capturing the grace and elegance of my subjects is a primary goal.”From that approach emerged Tim’s unique style: an expression of each animal’s personality, movement, and behavior. His subjects pulse with life and celebrate it. Grace and elegance are immediately recognizable in Tim’s work, but so too is a quality of whimsy, which marks many of his pieces. The sculptures are issued in small editions—a fact that collectors greatly appreciate. His bronze works are further enhanced by highly polished surfaces that shimmer with reflected light, making them especially tactile.About his patinas, Tim says, “With the smooth surfaces, I have a large palette of options available. Since my work leans toward a more contemporary style, I enjoy experimenting with colorful, lively patinas. To me, color is an important part of the design.”Tim’s peers have also recognized his accomplishments. At twenty-five, he gained membership in the Society of Animal Artists. Five years later, at just thirty, he was elected to membership in both the National Sculpture Society and the National Sculptors’ Guild. Tim’s sculptures bring joy to clients and grace homes, offices, and public spaces both nationally and internationally. He is a sought-after contributor to major exhibitions throughout the United States.In 2001, Tim received the James Earl Fraser Sculpture Award, presented annually for exceptional merit at the National Cowboy and Western Heritage Museum’s Prix de West Invitational, for his sculpture Snake in the Grass. That same year, he received the prestigious Gold Medal from the National Sculpture Society for Flea Flicker. Recognition has continued—most recently, in 2017, he received the Cyrus Dallin Best Sculpture Award at the Eiteljorg Museum and was honored with a retrospective exhibition at the Woolaroc Museum in Bartlesville, OK, titled Best of the Best.Tim’s sculpture can be found in a handful of galleries across the continent, in collectors’ homes internationally, and featured in the pages of Southwest Art, Wildlife Art, and Art of the West magazines.Tim says sincerely, “It takes a tremendous amount of teamwork, time, and money to cast bronze. I am extremely grateful for everyone involved with my artwork—their efforts mean a great deal to me. As the saying goes, ‘It takes a village to raise a child.’ Well, I feel it takes a tribe to raise a sculptor! My family, friends, peers, foundry personnel, patineur, galleries, and collectors—they’re all part of that tribe.”