(American, b. 1961)
Using cast glass and granite, New Hampshire sculptor Thomas Scoon focuses exclusively on the human figure, abstracting it while still emphasizing the essence of gender, gesture and other human characteristics. The organic granite stones have spectacular traces of quartz, mica and iron running throughout them, and juxtaposed with the translucent glass, result in works that balance the beauty of nature and explore familial and generational relationships, both as a personal narrative and universal construct.
Scoon has been an independent studio artist since 1991, producing astounding sculptural works that focus on the human figure. In pairing and grouping figures, he attempts to explore familial and generational relationships, which he hopes speaks to his audience as both personal narrative and universal construct.
He begins his artistic process by selecting stones in natural habitats, which he visits over a period of years to appreciate the evolution of his natural materials. He attempts to gather both the head and the torso stone from the same site for consistency of color and texture. With the use of wax molds, Scoon casts glass to fit the stones and the glass shapes the rest of his figures in a very organic sense, much like ice. The translucent quality of the glass is activated by natural sunlight and in this way, Scoon says, the figures are given their spirit or soul.
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1990 Masters of Fine Art - Massachusetts College of Art
1988 Bachelor of Fine Arts - Illinois State University
1991-present Independent Studio Artist
2003 University of New Hampshire, Adjunct Instructor, Sculpture Dept.
1989-90 Massachusetts College of Art, Adjunct Instructor, Sculptural Glass Casting
1984 Pilchuck Glass School, Teaching Assistant, Glass Blowing
2019 “Emergence” Contessa Gallery, Cleveland, Ohio
2016 “Companions” Ken Saunders Gallery, Chicago, IL
2014 “30 th Anniversity Exhibition” Sandra Ainsley Gallery, Toronto, Ont.
2012 “Northwood New Hamphshire, Ken Saunders Gallery, Chicago, IL
2011 “SeaFair”, New Arts Concept, Greenwhich, Ct.
2011 “Scoon and Beck” Art Chicago, Ken Saunders Gallery, Chicago, IL
Selected Group Exhibitions
2019 “Market Art & Design, Contessa Gallery, Bridgehampton Museum, Ny
2018 “Art Toronto, Sandra Ainsley Gallery, Toronto, Ont
2018 “Sofa Chicago” Ken Saunders Gallery, Chicago, Ih
2016 “Catalyst” 2016 Onessimo Fine Art, Palm Beach Gardens, Fl
2015 “Art South Hampton” International Art Fair, Conteassa Gallery, Bridgehampton, NY
2013 “ArtHamptons” International Art Fair, Contessa Gallery, Bridgehampton, NY
2013 “Collect 2013” International Art Fair, Saatchi Gallery, Plateaux Gallery, London, UK
2013 “Art Palm Beach Modern Art Fair” Ken Saunders Gallery, West Palm Beach, Fl
Museum and University Exhibitions
2019 “New England Glass, Worcester Center for the Crafts, Worcester, Ma
2016 “Nature of Glass” Contemporary Sculpture at Chesterwood, Stockbridge, Ma.
2015 “ Cutting Edge”- A new Perspective on Glass, Sandwich Glass Museum,
2014 “Glass Today: 21st-Century Innovations,” New Britain Museum of American Art,
New Britain, CT.
2012 “Contemporary/Anthropological” Burchfield Penny Art Museum,
Buffalo State University, Buffalo NY
2012 “Haverty Collection of Studio Glass,” Mobile Museum of Art, Mobile AL
In my work, I create figures from sequences of stone and glass. The figures rise up from the external landscape where I live, a place filled with remnants of stonewalls and glacial erratic. I gather stones from quarry rubble and from New Hampshire neighbors who allow me to choose stone from their land. The glass portions of the sculpture are combined with these found stones, suggesting human figures. I will look for a flat rock with a curved edge and tapering form to suggest torsos or the triangulation of stone with a cleft that may hint of a head.
I seek to emphasize qualities naturally present. The layering of kiln-cast glass with the stone allows light to pass through the figures and what I hope, embodies the spiritual and physical essence of human nature into the sculpture. By marrying fire and materials of earth with a modern process of casting glass, there is a fusion of composition and chance.
Given the range of scale and opportunity to group figures together, there are layers of interpersonal drama, gender, and generational concerns. The combination of materials expresses both the fragility and enduring qualities of humanity. I believe the figures are universal in that they speak directly to what is elemental rather than superficial about us and our relationships to others.