BIOGRAPHY > A Conversation with Tim
Who is Timothy A. Maslyn?
I am a professional sculptor and have been creating sculpture for over 25 years. I was very fortunate to have had the opportunity to meet Joseph Brown who encouraged me to pursue sculpture and who taught me so much of what I know today about modeling and the sculpture process. In 1993, I established Maslyn Studios, which I own and operate and where I create unique bronze sculptures for my clients. My life is very fulfilling being married to my wonderful wife and raising our three beautiful daughters. It is also very challenging to work with my clients to create their idea or vision in a three dimensional sculpture.
When people find out that you are a sculptor, what do they want to know about you ?
People are always curious about how I got into sculpture. The two questions I usually get asked are, “How did you start doing sculpture?” and “How do you do that?” The best way for me to answer these questions is to let you know what influenced me, who taught me, and how I learned about sculpture through my experiences with sculpture. I would hope that maybe something I say or have experienced will be an inspiration for you to pick up some clay and begin creating your own sculpture.
How did you know that you wanted to pursue sculpture?
I knew I had ability for sculpture because I was able to do wood carving and model in clay. Sculpture was, at that time in my life, what I knew better than anything else. I knew sculpture was something I could do and I had a strong interest in learning more. My father also encouraged me to pursue sculpture.
Once you decided to pursue sculpture, what other encouragement and influences did you have in your work?
As I said, my father was my initial influence in pursuing sculpture. He was an amateur wood carver. I learned to wood carve, as a young boy, by watching him and working along side him. He taught me how to use different wood carving tools and how to maintain them. I was about 19 years old when I sketched a drawing of Arnold Schwarzenegger from a photograph. My father looked at my sketch and commented that it had a sculptural appeal. He suggested that I take some sculpture courses because of my experience in wood carving. I enrolled in the Ducre School of Art in Plainfield taking a pottery class because no sculpture class was offered. I told the instructor that enrolled in the class because it involved using terracotta clay and that I would like to do sculpture rather than pottery. He allowed me to do a sculpture project. I created a self portrait and got an A for the course. I talked with my father and told him that sculpture was not the instructor's area of expertise and that he knew more than the instructor about sculpture and I could learn more from him. My father felt that I should learn from someone who knew more about sculpture than he did and who could really teach me. My father told me about a sculptor he knew who had taught him years ago at Princeton University and suggested that he might able to teach me. His name was Joseph Brown and my father was going to try and find him to see if he would be interested in teaching me.
So that was how you learned of Joseph Brown?
Yes, the first I ever heard of Joseph Brown was when my father mentioned him in the conversation we had about finding a sculpture teacher for me. Years ago when my father had also thought about pursuing sculpture more seriously, he had heard of Joseph Brown who was a sculptor at Princeton University . He wanted to pursue him in the hopes that he would be able to critique some of the sculptures he created. When he went to Joe's studio at 185 Nassau Street , Joe let my father come to the studio and help out at times, and in return Joe would critique his work and let him work on his sculptures in the studio. My father eventually decided not to pursue sculpture and never had any reason to return to Joe's studio.
What work were you doing before you met Joseph Brown?
After I graduated from high school in 1976, I had several different jobs: lawn maintenance during the summer months, day and night shift factory work, and working for a clay company making clay and selling sculpture supplies. It was in the fall of 1976 that I enrolled at Ducre.
What stands out in your mind the first time you visited The Joe Brown Studio ?
I remember it being a warm spring day in 1977. I just turned 21. My father located Joe Brown at his studio on Canal Road . When we pulled up in the driveway we walked around to the side of the building because the large garage door to the studio was open. I was overwhelmed by what I witnessed – there was sculpture everywhere and in boxes too. Joe was in the process of moving from his campus studio at 185 Nassau Street to his new studio because he would be retiring after the end of the school year in June. My first thought was, this man is a genius! It was amazing that all that sculpture was created by one man. I stayed outside while my father went inside to talk to Joe. After a few minutes, my father and Joe came out of the studio. My father introduced me to Joe and asked if he would be interested in teaching me sculpture. Joe was very polite to me, but he did not appear interested in teaching me. He did however invite me to come by the studio and help out around the studio and at the same time work on some of my own sculpture. A fascinating piece of history about Joe's studio building was it was the building where the ceramic tiles were made for the Lincoln Tunnel and Woolworth Buildings.
Was there a particular sculpture that stood out in your mind?
I remember seeing the sculptures he was working for the Civic Center in Philadelphia . They were the studies for the composition modeled in a red oil-base clay. I remember how beautifully they were modeled. The only way I could describe it was that he laid the clay with such fluidity. I still have two of the studies in my studio in the original clay. They have never been molded or cast in bronze. Those were the sculptures I saw over twenty-five years ago.
How long did it take you from the day you met Joseph Brown to go to The Joe Brown Studio ?
I remember debating whether I should go to the studio and whether Joe would really want me there. It was about a week after my father and I visited the studio that my father encouraged me to the studio only if it was to just be there to see what Joe was doing. So I gathered up the courage and made my first visit. When I got to the studio, Joe left it very loose. He told me that I could observe what was going on and help where I thought I could. I felt that I could make myself useful by cutting the grass, taking out the garbage, sweeping the floor, and putting things away. While I was there, I noticed a portrait of James Michener that Joe was workin on in process. Joe was also working on a plaster waste mold, which is a plaster mold of the clay sculpture that you can make a plaster cast from. I was curious because I was familiar with the process of making a plaster waste mold and I wanted to see how he did it. I remember watching him and I started to ask a question. Joe immediately indicated to me to just observe because he needed to focus on what he was doing — making the mold. I know now that Joe felt that you learn more by observing rather than asking questions.
As your time became more regular at The Joe Brown Studio , what did you do?
As my visits became more regular, I made myself useful doing what was needed to keep the studio in order and I would work on my own sculpture. Because I knew something about tools and maintenance, I would make sure his tools were in good working order. Joe saw that I was useful but doing maintenance was not what Joe needed in the studio. What Joe needed was someone to know what he was doing and help him with his sculptures. After several weeks, Joe needed to know if I could model. He showed me his sculpture, The Secret and asked me to copy it. As I worked on it, Joe let me know that I had ability. Because I had ability to model, I would be able to be more useful to him. I still had my job making clay and selling sculpture supplies. In addition, I met a ceramic mold maker from Trenton who would come to the studio to see Joe and who cast some of his sculptures in ceramic. I was able to work for the mold maker making ceramic block and case molds. Since Joe was not paying me, I worked these additional jobs to earn a living.
Do you remember when Joe let you know that you had talent for sculpture?
I remember it was about nine months after my first visit to the studio, and I was driving with Joe to his home for the first time. He was driving a Ford Granada and driving all over the road. He had one bad eye and it was difficult for him to see. It was one of the wildest driving experiences I had with Joe. While we were driving, I remember asking Joe if he thought I had talent for sculpture. I needed to know this because I needed to know if I should pursue sculpture. Also, I did not want to be at the studio if I was not going to be useful to Joe. Joe said, “I told you once that you do and I don't lie”. That was a turning point for me because I knew that I had a direction to go. Joe also told me that I was going to do a lot of nice sculpture.
When did you start your apprenticeship with Joe Brown?
There was no formal apprenticeship program Joe Brown. After Joe let me know that I had talent and that I had something to offer, he began to pay me $50.00 a week. I think at that point I can say that was the beginning of my apprenticeship. Also, I learned the sculpture process and my own talent began to flourish. It was during this time that Joe and I became very good friends and he was a great teacher. What I learned from Joe about sculpture I could not have learned anywhere else. I apprenticed with Joe at the point in his life where he had the most to offer. He had completed a 40 year career of teaching at Princeton University and the wealth of knowledge he had to offer me was more than I could have ever learned anywhere else.
When did you become Joe's assistant?
After about three years of working with Joe, he referred to me as his assistant. As his assistant, I would work on all aspects of Joe's sculptures from modeling to casting to chasing his bronzes.
Was there any one thing that Joe felt was the most important for you to be able to do?
Joe believed that before I could work on his sculptures I had to be able to model a sculpture. The reason is that you had to know what was modeled in the clay in order to be able to chase or finish the bronze after it has been cast. A bronze sculpture that has just been cast needs a lot of work to restore it to the original model. Joe believed that if you could not model then you could not be of use to him working on sculpture. Because I had ability and I could model, I was able to see what was in the clay and could see it in the bronze.
If you had not decided to go to The Joe Brown Studio , where do you think you would be now?
I probably would be working at a foundry. It was Joe who gave me the confidence to pursue my sculpture. Also, I don't think I would have ever created sculpture on my own if it had not been for Joe Brown. Once I had the confidence from Joe, all I wanted to do was sculpt. The Joe Brown Studio was the best place for me to learn and create sculpture by working directly with a master.
How did you learn the foundry process?
I learned the foundry process by going with Joe when he would go to the foundry. Joe had the foundry cast his bronzes. After they were cast in bronze, he would bring them back to his studio and work on them. Eventually, he had me working on the bronzes. For Joe it was important that I finish his bronzes just as he would. I spent a lot of time working with him to study and learn just what he did.
Why do you think Joe trusted you so much?
I believe Joe trusted me for a few reason. First I was the kind of person who listened. It was important for Joe to have me listen to him and watch him do what he was doing and I did. Second, I was dependable. I was always on time and always there when he needed me. He had a lot of confidence in my ability and more importantly because I did the work the way he wanted it to be done. That was the key – the way he wanted it done.
Did Joe ever indicate to you what he thought was his best sculpture?
Joe told me that he felt his best sculpture was his Jesse Owens because he was such a huge force in the Olympics against Hitler. He felt his most important piece of sculpture was his Monument To Freedom of Expression , because of the message it conveyed. He also liked his portraits such as Robert Frost and his boxing pieces the Pieta and Boxers, which are key pieces.
What is your fondest memory of Joe?
I have to say my fondest memory of Joe was when he had a sculpture show at La Vake Jeweler's on Nassau Street in Princeton, which is no longer there. Joe was talking with Jack Dorrance Sr. and when he introduced me Joe said that I was one of his best students in all his years of teaching. What Joe said at that moment was one of the most significant sentiments Joe made about my ability. It was a turning point in my career and it gave me such motivation to continue with my sculpture.
What were some of your first sculptures you worked on in The Joe Brown Studio ?
The first sculpture I worked on was my eagle on a star. I remember Joe coming over to me looking at my sculpture and he told me that the e xpression of the eagle was not quite right so he made a facial expression to show me how the lip should look. I will never forget that. That was pretty funny to me. Joe had a great sense of humor. Joe did say that he liked the action of the eagle. I even sold a few of my eagles. Then I sculpted a portrait bust of my brother Christopher who had Downs Syndrome. Joe looked at my portrait and said it was very sensitive. I remember I went to see St. Gauden's studio in Vermont and when I came back I was inspired by seeing his sculptures. I began to sculpt a portrait of my friend Dr. Jim Hayes, who was a big supporter of my work. When Joe saw my portrait, he was very impressed with it and said, “Right now you are better than most of the professional sculptors.” I had only been in the studio for about a year and a half. When Joe saw the likeness in the portrait he said, “You are going to do a lot of beautiful stuff.” I knew as well as Joe that I still had a long way to go with my sculpture and I was committed to learning and absorbing all that I could.
Who was Jim Marvin and what was his relationship with The Joe Brown Studio ?
Jim Marvin was student of Joe's when he was at Princeton University , Class of 1955. He graduated Princeton with a degree in Art History and he had a lot of talent and background. Jim could model and he real talent for sculpture. After he graduated, he secured a High School teaching position in South Jersey . During he summer months he would help Joe in his campus studio. After Joe retired from the university, Jim would work in The Joe Brown Studio. I first met Jim in the summer of 1978. I learned a lot about modeling, sculpture and the sculpture process from Jim. I would chase the bronzes and would bring them over to Jim and ask him what he thought of the way I was finishing the bronzes. I would observe his technique when he made rubber molds and waxes.
What did Joe tell you about what he wanted after he died?
Joe expressed to me on many occasions that what he wanted most was for me to continue his legacy and make his sculptures available to those who wanted them. He wanted me to continue producing his annual awards, his sculptures and to continue on with the working teaching studio.
Why do you think Joe's sculpture would appeal to a new audience?
I think that Joe's sculptures represent the ultimate in excellence. His sculptures of athletics are among his greatest sculptures of the last century. Joe told me many stories of people visiting Princeton and wanting to meet him and see his studios. He was a real people person. He met many prominent literary figures, sports heroes, musicians, and television personalities, some of which posed for him. After he died in March 1985, there was an interest in his work but it was never brought to a larger public attention. There was a circle of people that knew Joe and his works. His name never got a chance to fully expand beyond this small circle.
What is it about Joe's life story that makes his life fascinating to you?
Joe embodies that American spirit. He grew up poor in a rough neighborhood fighting for his corner to sell newspapers, earning an athletic scholarship, taking time to achieve professional status as a boxer, returning to college and graduating, apprenticing with a world-renowned sculptor and discovering his own ability for sculpture, securing a coaching position at an Ivy League university, becoming a teacher of sculpture, creating monumental sculpture all over world, and creating a sculpture collection of over 400 pieces of sculpture and being respected by some of the most influential and respect individuals of the twentieth century. Joe will be remembered as great coach, educator and friend. How many people can say that about one man's life? Joe had so much talent for sculpture and he had a great mind.
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