Tim Bruckner Gallery

Influences: Too many to mention, but that won't stop me from having a go at it. Michelangelo was the first sculptor whose work inspired me toward a more serious effort. From there; Cellini, Bernini, Carpeaux, Houdon, St. Gaudens, Gilbert, LaChaise, to name a few. I'm also greatly inspired by many of the sculptors in these galleries, some of whom are friends. Inspiration is everywhere and in everything. Keeping one's eyes and mind open, keeps the work interesting and keeps one interested in the work.
Companies: The Hamilton Group, Enesco, Mattel, Hasbor, Kenner, Max factor, The Stansbury Group, Hallmark, Henson, Applause, Dakin, Racing Champions, American Greeting, Danbury Mint, Franklin Mint, Ashton Drake, ProModeler, Diamond Select, MBI, Geometric, Toybiz are the ones I can remember. I'm currently under contract to DC Direct.
Expectations: To be honest, I don't really give it much thought. I don't expect anything from it. I hope to get better. I hope to be able to make my hands do what I see in my mind's eye. I hope to be able to achieve a skill level like that of a fine musician, wherein there's nothing to impede translation or interpretation. I hope to do honest work and always be mindful of those that spend their hard earned money on something I've created.
Advice to new sculptors or amateurs sculptors: Two different things; being a sculptor and being in the business of sculpture. My advice to any sculptor is, steal from really good dead guys. There's almost isn't a compositional, anatomical or technical problem you'll face that hasn't already been solved, with some degree of brilliance, by a sculptor whose genius is, at every turn, humbling.
As far as being a sculptor in the business of sculpture, it would take paragraphs to outline what's expected. I think I've made virtually every mistake a free-lancer can make. There's something to be said for having been in the business as long as I have in that most of my transgressions are either forgotten or forgiven. But I'll offer a few things for consideration. Be honest in your work habits and your business dealings. Your are, for the most part, hands for hire, consequently, your first obligation is to your client and your client's needs. Save your ego for your own personal work. Be on time and on budget. If you find a job is getting away from you, let your art director know. Never take a job that doesn't interest you. Having said that, there are many times when you won't have the luxury to pick and choose. Its then that you have to find something of interest or something challenging in the job. And there's always something you can learn, regardless of the subject matter. Learn when you're done. And never let the things you see wrong with a job be the same things your art director sees. Be generous with your time and experience.
Other: A man walks into a bar with a dog...

Experience: A little over thirty-five years. There were some detours along the way. I'm sure its a blessing I can't recall them all; the enthusiasm of youth and the fog of middle age. But, for the most part, I've been sculpting since I was seven and got my first paying job as a sculptor at eighteen carving African wildlife for a jeweler in Beverly Hills, CA.
Material preferences: I'm a wax man. I've dabbled in other materials but wax does everything I need it to do and them some. The formula I use is a bastardization of the one offered by Cellini in his treatise on Goldsmithing.
Sculpture’s size: I suppose my preference is borne out of the jobs I do. Most of my work ranges from 2" to 14" with a majority falling into the 6" to 9" range. I enjoy working small but hope to try my hand at some larger scale pieces in the not too distant future. I once sculpted a 13 foot alligator of the movie Joe Panther and followed that up with a 22 foot alligator for the movie, Alligator. It sat in storage so long, the latex and urethane guts deteriorated making it unusable as a two man midget suit. They cut the head off and mounted it on a Volkswagen and drove it into scenes where people hurled themselves into its gapping rubber jaws and writhed in the throes of theatrical death.