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Timothy Nimmo BFA, SAA, NSG

Selected artist profile information for this contemporary American Sculptor
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Sculptor Timothy Nimmo BFA, SAA, NSG
Timothy Nimmo

About Timothy Nimmo

Timothy Nimmo was accepted into the Society of Animal Artists in May 5 of 2013 as a Signature Member. The Society of Animal Artists is an organization comprised of members who produce the best animal art in the world. The mission of the Society of Animal Artists is to promote excellence in the portrayal of domesticated and wild animals in art.

Timothy Nimmo joined the Rocky Mountain Animal Artists in 2013. This is group is composed of SAA members in the Rocky Mountain region. Though not officially affiliated with SAA, membership in that group is required to be a member of RMAA.

Timothy Nimmo has been an Affiliate Member of the National Sculptors` Guild since 2010.
Sculptor Timothy Nimmo BFA, SAA, NSG
At work.

Exhibition History of Timothy Nimmo

2014 - Society of Animal Artists 54th annual Art and the Animal. (Parker Colorado)
2014 - Western Spirit Art Show (Cheyenne, Wyoming)
2013 - Rocky Mountain Animal Artists at The Wildlife Experience. (Parker Colorado)
2011 - Western Spirit Art Show (Cheyenne WY)
2011 - Sculpture in the Park (Loveland CO)
2011 - Sculpture at the Rivermarket (Little Rock AR)
2010 - Western Spirit Art Show (Cheyenne WY)
2010 - Sculpture in the Hills (Hill City, South Dakota)
2010 - Sculpture in the Park (Loveland Colorado)
2010 - Sculpture at the Rivermarket (Little Rock, AR)
2010 - Sioux Falls Sculpture Walk (Sioux Falls, South Dakota)
2009 - Sculpture in the Hills (Hill City, South Dakota)
2009 - Loveland Sculpture Invitational (Loveland, Colorado)
2009 - Sioux Falls Sculpture Walk (Sioux Falls, South Dakota)

Often driving ...and driving... and driving!

Biography / CV of Timothy Nimmo

Timothy Nimmo grew up in the small city of Janesville in Southern Wisconsin. He was the middle son in a fairly typical middle class family of 5. Since anyone`s earliest memories he was coloring, drawing, painting- creating something. One of the other threads of his early life continue into the present and highly influence his work to this day. From childhood he has been a keen observer of the natural world and avid outdoors man. Whether it was catching crayfish and frogs in his native town`s Rock River at age 7; hunting white tailed deer in Northern Wisconsin as a young man; or hiking and hunting the Colorado Rocky Mountains later in life- being in the natural world has always been a corner stone of his life. Fossil hunting, camping, fishing, or merely hiking with his dogs: if it involves being out in nature; Timothy will be found immersed in it.

Timothy graduated Cum Laude 1984 with a BFA in sculpture and painting, art history minor; from the University Wisconsin Whitewater. There he learned all phases in the creation and production of bronze sculpture from his mentor, James Wenkle. James taught him that the art and craftsmanship are married to one another. The greatest ideas will not be conveyed effectively if the execution is lacking; and master craftsmanship can not replace a shaky concept. Whitewater also had an embarrassment of riches in the Art History department. Here his love of the art of ancient cultures was also kindled.

Having children while still in college, upon graduation he became an artisan for hire to support his family. For the next quarter century he was at various times a professional art mold maker, foundry man, foundry owner and project manager in the hire of other sculptors. In these capacities he was involved in the creation and placement of hundreds of monumental bronze sculptures nation wide as well as uncounted many hundreds of smaller bronze creations for the sculptors he was contracted by. Through this he became a master mold maker and skilled artisan in all other phases of hands on art bronze production.

Timothy moved to the West from Wisconsin to Loveland, Colorado in 1998 seeking greater opportunity in the most fertile sculpture production center of the country. He has lived in Loveland in all but 3 of the years since.

Around 2008 he began a process transitioning from making the art of other sculptors to that of making his own creations full time. In 2008 he began creating, exhibiting and selling his own work professionally full time. He entered his first shows in spring of 2009. His first year was highly rewarding as he won 1st place in 2 of the 3 shows he entered (Sculpture in the Hills and Sioux Falls Sculpture Walk). Rapid growth and results continued in the ensuing next 2 years. Shows, awards, and sales were quick in coming for an artist so new.

The years of heavy work producing others sculptures had taken a heavy physical toll on his body though. Late in 2011 he took off for an anticipated 2 months for surgery to repair some of this damage to his body. However, a very routine surgery resulted in some life threatening complications. The first half of 2012 was spent in recovery from these complications, further surgery, learning how to walk, work, and live again; only this time with a permanent disability to one of his legs.

Though it has taken some time to readjust and regain his momentum; he feels like he has finally gotten back to where he should be. Through it all he has considered himself lucky. "I still have my mind, my eyes, and my hands. What more could a sculptor ask for?" He often speaks of the appreciation and gratitude he has gained for his wife and family, and of course the many friends who were there for him through it all. He is fond of saying, "You have to look at what you have, where you`re going, how much there is. I can`t focus on what was lost or what I can`t do. That was then. I need to focus on now and tomorrow."

In spite of the set backs, Timothy still works on almost every aspect of the production of his work. To this day he makes his own molds, does his wax work, welds, grinds, finishes all of his bronze. He does most of his own patinas and even makes many of his stone bases. (Everything except the metal casting.) "Even in times when I am so busy I HAVE TO hire other artisans to do some of the work; I must have my hands on the final steps of every process."

Timothy sums up his life in a few sentences: "Through my whole art career whether as an artisan working for other sculptors or as a sculptor of my own works one thing has remained a constant: The desire to make the world a more beautiful place than it was when I entered it. Though I hope I am far from finished in this; I believe I have succeeded already. Works I have made for others and those of my own will continue to enrich the lives of others long after I am dust."

My home, Colorado.

Artist Statement of Timothy Nimmo

One of the key words I use in describing my work is, "transition". The conscious concept of transition that inspired me most directly was the art of the ancient Scythian tattoos and artifacts blended with contemporary abstract sculpture. The twisting of many of the Scythian images directly influenced my seminal sculpture, Birth of the Sacred Stag in both style and concept. The style of this piece (and all of my work) is one of smooth transitions of form and line to augment the concept. I spend much time in sculpting composing the piece to move fluidly through all three dimensions; such that there is never a bias towards one axis of height, width or depth. My mentor taught that a good sculpture will have neither 1 preferred view nor any 1 unfavorable view. The viewer should always be subconsciously walking around the sculpt, or turning it and never being able to settle on one point of view.

Conceptually, I believe good art is never completely about the subject matter. The subject is an apt vehicle for a great concept. (Looking to art history for example; Michelangelo`s Pieta was not simply a depiction of an historic event. It was about sacrifice, loss, the intimacy of a mother and son during death- and many other such larger parts of the human experience than the subject matter itself.) For me, again I play upon this overall idea of transition and it`s meanings and manifestations with the vehicle of animals: transitions of spiritual birth, transitions of physical matter to life energy, of flesh to spirit, and transitions of life into death.

Often I view my work as a conceptual full circle- The inspirations are those of ancient art, which is interpreted with a modern style, then finished in such a manner as to make it look like the creation of an ancient culture. I always want the subliminal question in the viewers mind, "Is this a modern work of art or an artifact of some ancient undiscovered people from antiquity?"

My physical approach to my work is a reflection of my belief that good sculpture generally is a marriage of concept, style, and execution. While much of the work is extremely precise, there are also imperfections which are intentionally left. I embrace many "defects" other artists would not; and refuse to allow certain procedures other artists would not be bothered by. There are several reasons for this. First, I see a piece of art as having a life. It is physically born of its mother, the mold. It goes through the trauma of being cast in parts and assembled. These I find an apt metaphor of the life narrative of every physical being. One example I often use is that of a human navel- it is a useless vestige of our natural life cycle, a scar that we all bear. With the sculpture- there are slight traces of where the mold was split open into halves, slight pits or imperfections lodged in the metal, perhaps a tiny air bubble in a deep area. I erase the traces of most of them and never allow them to be obviously distracting, but I believe a few need to be left to pay homage to the life of the sculpture. Second, If a sculpture is extremely precise to the point of near perfection; I believe the overall concept of the work would change. Near perfection subconsciously says to the viewer, "Machine like". Intentional small casting artifacts and visible subtle finger strokes say instead, "Look at what someone was moved to make, how long they labored, how hard it was for them... this must have been important for someone."

The reason for my attempts at such subliminal elements is this: To create a dialog between the sculpture and viewer. I believe good art does not tell the viewer what or how to think. Neither should it be so vague as to not connect with anything in the viewer`s experience. I believe good art creates questions in the mind of the viewer, and then hints at possible answers. I wish those looking at my work to take part in a conversation with the sculpture. "Why does it have these cloud like swirls incorporated into its anatomy? Hummm, those do remind me of clouds, and the hooves remind me of lightening... the horns like thunderheads... AHHH! The coloration is that of a stormy cloud, and the base resembles a mountain peak. This looks like the view of the mountains I had when I was arriving in Colorado... and yes, it IS a big horned sheep and those live up in the mountains, don`t they. Yes all of this energy of mountain and sky, coming together to make a great moutain animal, I see that!"

Always, I try to create a synthesis between my love of nature and my respect of the great artists who have come before. As a student of the process of creation and art history I have never lost my sense of wonder at great art to communicate to me and move me to greater levels of awareness. Whether it be individual artists like Brancusi, Manship, Marini, Moore, Van Gogh, or the art of antiquity like Scythian, Celtic, Oriental, Egyptian, African; I am always amazed at the number of ways our species has come up with to see, interpret and convey their views of life and the nature of it. I find these voices resonate with me and my sense of wonderment of my world; both my inner world and the universe with out. I seek out and embrace these influences, and consciously draw on them for the base substances of my sculpting. As a sculptor friend once said to me, "Those who claim their art is truly original simply can not remember where they saw the source of their inspiration." I hope only to credit my sources properly and remain open to their wisdom. I see the work of man throughout the ages and the work we do, I do, now as a dialog of all humanity crossing all barriers of language, culture, and time.

Awards and Prizes of Timothy Nimmo

2014 - Award of Excellence/ Society of Animal Artists 54th annual Art and the Animal (Parker Colorado)
2011 - Jury award 1st Best Sculpture/ Western Spirit Art Show (Cheyenne, WY)
2010 - Jury Award (3rd) / Sculpture in the Hills Exhibition and Sale
2010 - Purchase Award / Sculpture at the Rivermarket (Little Rock AR)
2009 - Best in Show Jury Award (1st) / Sculpture in the Hills Exhibition and Sale.
2009 - Best in Show Jury Award (1st) / Sioux Falls Sculpture Walk

Society of Animal Artists- Signature level member.
National Sculptors` Guild- Affiliate level member.


2012 American Foundry Society Art Casting Conference guest speaker: "Do it yourself bronze sculpture guide."

Acquisitions / Collections of work by Timothy Nimmo

Vogel Schwartz Sculpture Garden, Little Rock, Arkansas

Reviews of work by Timothy Nimmo

Loveland Reporter Herald
Rapid City Journal

Public Works of Timothy Nimmo

Autumn Winds- Vogel Schwartz Sculpture Garden, Little Rock Arkansas
Joseph Hlavacek Memorial- Hillside Cemetery Whitewater Wisconsin

Qualifications / Education of Timothy Nimmo

Bachelor of Fine Arts (Painting and Sculpture) University of Wisconsin at Whitewater.

Publications / Media / Bibliography of Timothy Nimmo

Southwest Art
Loveland Reporter Herald
Rapid City Journal

Teaching Experience

Various mold workshops and seminars, private tutoring in various areas of sculptural bronze casting processes.

Influences / Inspiration of Timothy Nimmo

Ancient art: Scythian, Persian, Assyrian, Egyptian, and the unnamed masters who first painted the walls of caves.

More contemporary: Paul Manship, Marino Marini, Brancusi, Van Gogh, Henry Moore.

Price Range of Work

Timothy Nimmo's work has a price range from £2,943 to £7,743

Mediums utilised

Timothy Nimmo's work is found in the following materials:

Artwork Categorised

Timothy Nimmo's work is found in the following categories on site:
Animal Abstract Contemporary Modern Stylised Minimalist Sculptures (8)
Wild Animals and Wild Life Sculptures (7)
Indoor Inside Interior Abstract Contemporary Modern Sculpture / statue / statuette / figurine (7)
Stylized Animals Sculptures (7)
Deer Sculptures (6)
Antelope sculpture (5)
Modern Abstract Contemporary Avant Garde Sculptures or Statues or statuettes or statuary (4)
Sheep, Goats Ewes, Rams, Tups, Lambs, Wether, Sculptures or Statues (4)
Spiral Twisted sculpture / statue / carving (2)
Tabletop Desktop Small Indoor Statuettes Figurines Sculptures (2)
Abstract Contemporary Modern Outdoor Outside Garden / Yard Sculptures Statues statuary (2)
Interior, Indoors, Inside Sculpture (2)
Animal Birds Fish Busts or Heads or Masks or Trophies For Sale or Commission (2)
Sign of the Zodiac (2)
Garden Or Yard / Outside and Outdoor Sculptures
Organic / Abstract Sculpture
Cats Sculpture
Surrealist Sculpture
American Animal Bird Reptile and Fish Sculptures, Statues, statuettes, figurines
Endangered Animal Species Sculptures
African Animal and Wildlife Sculptures
Allegorical / Parable Sculpture
Spiritual sculpture
Farm Sculpture and Statues
Predators Carnivores Hunters Flesh Eaters Sculptures Statues statuettes carvings
Cats Wild and Big Cats Sculpture


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Customer comment on 'Beautiful Nails - Commissioned' by Shaun Gagg
The sculptures arrived in the meantime and on weekend I brought them home to my private house/garden.

They arrived in a perfect condition and when I have opened them I was speechless Shaun, they look great.

I got the picture from you where I could see them before but in reality they look much more better !!! JJJ

I am really happy thank you so much that you made them for me.

They will get a perfect place in my garden ... [Read more]

Andrea D, St Ruprecht, Austria.