SCULPTURAL

Thom began his foray into three-dimensional sculptures in the early 1990s by collaborating with a number of prominent French floral designers. One of his inspirations is Giuseppe Arcimboldo, the Italian Renaissance court painter who incorporated fish heads, ears of corn, blades of wheat, and bunches of grapes into his fantastical portraits. From the beginning of his career, whenever Thom had carte blanche, he introduced everything from artichoke heads, poppy seeds, moss covered woods, elk horns, lichen-covered branches and lengths of trailing foliage into his floral fantasies. Viewed from afar, his constructions have a strong, haunting, architectural presence; viewed close up, their exquisite detailing and texture delight all the senses.
Thom is allergic to kitsch and, thanks to his refined vision, the potential of his sculptural work is limitless. He once humanized the grand interior scale of an iconic landmark with a single, 13-foot high pyramid composed of a myriad of fruits interspersed with purple orchids. For a themed bat mitzvah, he used moss, warped birch bark, acorns, and the jawbones of a deer to represent a 9-foot tall gladiator’s “armor.” To neutralize the anonymity of a Manhattan corporate lobby, he suspended a meandering grouping of three-foot wide globes and “pricked” each one with dozens of individual bud vases. “The aim is to come up with something visually stunning and vitalizing,” he says. “My contribution always enhances and uplifts the location or proceedings, but it never upstages it.”

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Floral sphere sculpture
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