Timothy Horn’s work embraces several disciplines and draws from a broad bank of skills and materials, including cast glass, blown glass, various metals, transparent rubber and sugar. His current “Tree of Heaven” and “Gorgonian” series, were recently exhibited at the 2018 Adelaide Biennial at the Art Gallery of South Australia. These works combine the two distinct sources that have inspired his work over the past decade: those being patterns of 17th century jewelry, and 19th-century studies of natural forms such as lichen, coral and sea weed. Beginning with the silhouette of an historical piece of jewelry projected at a much larger scale, Horn drafts a working pattern with the addition of grafted imagery of natural forms. He then sets about fabricating a tree-like structure in wax, to be cast in bronze and nickel-plated. Pearls become large baroque forms in mirrored blown glass.
The focus of Horn’s work is the meeting point between the natural and constructed worlds, where he attempts to locate the area of slippage between the organic and artificial. Scale is important, but he also chooses to work with materials for their inherent physical and metaphorical qualities.
Horn’s work has featured in exhibitions at the Renwick Gallery in Washington D.C., the Andy Warhol Museum in Pittsburgh, the Museum of Arts and Design in New York, GoMA in Brisbane, and the National Gallery of Australia in Canberra. Horn has received grants from the Pollock Krasner Foundation, Massachusetts Cultural Council, LEF New England, the Australia Council and a Queen Elizabeth II Silver Jubilee Award. Residencies include the British Academy in Rome, Yaddo in upstate New York, the Fine Art Works Center in Provincetown and the Lux Art Institute in Southern California. Born in Melbourne, Australia, he studied Sculpture at the Victorian College of the Arts and then Glass at the Australian National University. A Samstag Scholarship brought him to the US in 2002, where he completed graduate study at Massachusetts College of Art.