20KLUS Ongoing

There’s a lot to communicate about the “Twenty Thousand Leagues Under the Sea” (20KLUS) series of illustrations, since it has developed over about 50 years of my life. Verne’s novel was the first book I read all the way through from my grade school library- and that was a really poor translation with half of the content left out! The Disney movie certainly grabbed me visually, and many other versions of the story over the years. When I finally got to read Miller’s translation, with all the original content in place, I could pull all the pieces together into my own visual interpretations. Why black and white? Probably because the novel is a story of the opposition of forces and extremes. I also wanted to give a tip of the hat to the original illustrations, which were wood engravings and printed in B&W.

#2 in the 20KLUS Illustrations by Tom

#2 in the 20KLUS Illustrations by Tom

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I Draw Too!

I guess, being “old school,” I was trained and developed my abilities in two dimensional art forms, along with the 3D stuff. One of the more recent outcomes of a lifetime of drawing, is my illustrations of Verne’s “20,000 Leagues Under the Sea.” I grew up with Jules Verne’s masterwork, and have always been intrigued with his vision as a creator of fantastic adventure fiction based on scientific theory. After reading Walter Miller’s translation, and finding out how inaccurate previous translations have been, I decided to pursue my own set of illustrations. These drawings are, in no way, an attempt to compete with the original engravings by Riou, Neuville, and Hildibrand, but rather represent my personal interpretation of the events put forth by Verne in his novel.

Number 1 of 12 in the 20KLUS series by Tom

Number 1 of 12 in the 20KLUS series by Tom

Walter Miller's translation

Walter Miller’s translation

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Textures and Landscapes Part 2

So…natural landscape not only influences my work as an artist, but often become the artwork itself. Sometimes it surfaces through a romanticized version, such as my recent “20,000 Leagues Under the Sea” illustration series, where the sea and the submarine become the landscape. I find the concept of human-made technology inserted into the natural world to be endlessly inspiring because it can be interpreted as either a good marriage of forces, or a bad one, depending on the artist’s and the viewer’s points of view. How far do we engineer our world, and how far do we preserve nature in its raw state? How do we humans balance our needs for survival with those of naturally occurring species?

Title page for Tom's 20KLUS series

Title page for Tom’s 20KLUS series

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Textures and Landscapes Part 1

I was asked, recently, how nature influences my artwork. My observations, over many years, along with my rolling around out in the open landscapes of this country, seems to seep into and then pour out of my subconscious as I make art. Those realities show up in the textures and colors of my sculptured surfaces and even in the way I process materials in both my three dimensional as well as two dimensional art forms. The layering of media, whether graphite or plaster modeling, is not unlike the geological layering of natures landscape forms. I sometimes refer to the figures I create as “vertical landscapes” for this reason. If an observer casts their eyes close up and across the metal surfaces of my sculptures, they take on the look of a landscape; not unlike the canyons and hillsides of the many places I have trekked.

texture detail of "It's All Relative" by Tom

texture detail of “It’s All Relative” by Tom

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Twist’in the Night Away!

Untitled twister form by Tom in stainless steel

Untitled twister form by Tom in stainless steel

IMG_6753Since Saturday is my birthday and I just finished (except for a few touches) a new piece, I thought it high time I blogged about life and art making again. I don’t have a title for this one yet, mainly because, although it is a finished sculpture in its own right, the idea is for a much larger outdoor installation. Whether I will get the chance to create that big piece through a commission, remains to be seen, but I am certainly happy to propose it to anyone who might be interested. I would like to see this sculpture made at about a 20-25 foot tall size and sited outdoors in a space that allows it room to breathe. Life in general is good. My wife, Ann, has new adventures developing in her work world, as do I, and the on-going struggle to protect the Amon Creek Natural Preserve continues. (Check out the Tapteal Greenway web site for the latest on that.)

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Concentration

Boy, howdy! How does one concentrate on creative work in a world gone mad? The more I investigate or get involved with politics, locally or nationally, the crazier my brain gets. So, it comes down to focusing on a few of these social concerns that I can have some impact on, and then absorb the rest, in order to protect my creative head space. I have to choose my battles, and allow that interaction to feed the creative process for art making. Another piece of the “craziness” is observing the rapid deterioration of my 94 year old mother. If art comes from life, the question I am grappling with is how do the issues of aging play into my art? We’ll see.

Self Portrait, color pencil on paper, 1981

Self Portrait, color pencil on paper, 1981

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Utilitarian

Sometimes people forget that, along with all our more freely expressive works of art, artists also create more utilitarian pieces. Right now, I am working on a steel outdoor arbor for some clients. The finished piece will be situated over their existing outdoor deck and have wisteria growing all over it. This should create a more enjoyable space for them and their friends to socialize around (and under) as well as helping to cool the house by establishing a shaded area on a currently very exposed side of the building. The challenge, among others, is to prefabricate all the metal components and then bolt them together on the site and have everything fit! Retrofitting like this is always interesting. Onward!

Some of the raw steel tubing for the arbor Tom is building

Some of the raw steel tubing for the arbor Tom is building

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Reflection

Sometimes it’s a good thing to reflect on some older works that I have created to learn new or review past experiential lessons. Such was the other day, as I reviewed some digital images of art I made while living in Bellingham, Washington around 1979. I was working on a series of “spirit catcher” forms that were inspired from ancient Native American artifacts I viewed through museum collections. The abstract concept of capturing some sense of the natural environment and the emotions it evoked in me was very inspiring, not only at that time in my life, and still does. Although, I would approach this same subject matter differently today, the basic concept remains the same. I think I’ll play around with that for a while, and see where I go with my ideas.

One of the "Spirit Catcher" series by Tom ,1979

One of the “Spirit Catcher” series by Tom ,1979

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Percolating

While my mind is percolating on new ideas for both sculpture and drawings, I am rebuilding an older piece, originally entitled “The News!” The concept has been going through numerous changes in my mind and on paper for a while, ever since I created the bronze and copper original about 11 years ago. This sketch piece was never really finished, so the current reworking makes perfect sense in the evolution of a concept originally intended as a large scale public art piece. I’m toying with a title which better describes the new configuration of the figure and other elements. It has to do with the history of human communication. As soon as I get the sculpture sand blasted, I’ll patina it and then it will be “finished,” although, I would still like to see it done on a larger scale. Pictures will be forth coming.

Tom working on a sculpture by Barney Bright in Kentucky 1984

Tom working on a sculpture by Barney Bright in Kentucky 1984

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“Successful”

I am often asked whether or not I am successful as an artist. In almost all cases, whoever is asking wants to know if I have gained fame and fortune in my career as an artist. As a matter of fact, I have had some “fortune and glory,” along the way. “Success,” for me means that I have successfully completed a given project and have succeeded in whatever artistic experimentation I was after when I started. I have certainly had my share of monetary famine through the years, and have had to rely on other skills to pay the bills, but, with all of that, I am still experimenting in the studio, completing commissions, exhibiting and selling my work. I don’t make art because I want to. I make art because I have to. It is an addiction and a passion, and not a hobby.

Detail from "Bone Circus" by Tom McClelland

Detail from “Bone Circus” by Tom McClelland

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