'Living on the remote Isle of Arran, in close proximity to the sea, Tim Pomeroy gains constant stimulus from the water's immensity and perpetual motion. The garden stretches from his small-holding to the shore.....The act of carving lies at the very centre of Pomeroy's work. 'I am a reducer, a taker away rather than a buider-up.' His perpetual determination to discover form drives him to release it from the block which can inspire the final shape.' Richard Cork, 'Tim Pomeroy, A Fundamental Sense of Wonder,' Beaux Arts 2020
Born in Hamilton Scotland in 1957, Tim Pomeroy attended Gray’s School of Art in Aberdeen. He returned to Gray’s to lecture there for six months before establishing himself as a full-time artist in 1983. Tim now lives and works on the Isle of Arran and has built a reputation as one of Scotland’s most thoughtful and respected carvers of his generation. He is represented in Glasgow, Edinburgh and London. Tim’s work is held in major collections including Leeds City Art Gallery, Duke of Devonshire (Chatsworth House) and the National Trust for Scotland.
Tim works primarily in stone he describes himself as a ‘reducer rather than a builder-up’, ‘releasing form from the block’. For him carving is ‘an experience to be savoured’, using traditional tools, he particularly delights in the purity of Carrara marble. Steeped in the Celtic history of the Western Isles, Tim’s work is associated with the sacred and otherworldly cists and shrines, as well as classical references to sarcophagi, altars and obelisks.
His most recent works reference organic subject matter influenced by his environment, his wife’s garden, the constant presence of the sea as well as an interest in fossil forms and the usefulness and beauty of man-made objects ranging from Neolithic and Bronze Age archaeology to contemporary life. At the heart of his creative process is the urge to get to the essence of things, to pare down the stone removing the outer casing to reveal the life form within.
Tim works primarily in stone he describes himself as a ‘reducer rather than a builder-up’, ‘releasing form from the block’. For him carving is ‘an experience to be savoured’, using traditional tools, he particularly delights in the purity of Carrara marble. Steeped in the Celtic history of the Western Isles, Tim’s work is associated with the sacred and otherworldly cists and shrines, as well as classical references to sarcophagi, altars and obelisks.
His most recent works reference organic subject matter influenced by his environment, his wife’s garden, the constant presence of the sea as well as an interest in fossil forms and the usefulness and beauty of man-made objects ranging from Neolithic and Bronze Age archaeology to contemporary life. At the heart of his creative process is the urge to get to the essence of things, to pare down the stone removing the outer casing to reveal the life form within.
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