The Guardian - Grizzly 399, in the Bronze Sculpture CollectionAs a nature photographer, I often use long lenses to close the gap between me and the wild animals I am observing. Maintaining distance not only ensures the well-being of our favorite subjects, but it keeps people out of harm’s way.
One regrettable limitation of wildlife photography is that the medium is two-dimensional. An image does not emanate actual physical texture available to the touch—neither of a bear’s coat, the jaggedness of a mountain, nor the dramatic buildup in the sky of thunderheads.
All my life, I have had tremendous admiration for sculptors who create three-dimensional representations of wildlife. My dear friend, globally-renowned sculptor Kent Ullberg, has more wildlife monuments in public spaces around the world than any living peer. I’ll never forget the insight he shared. What Kent likes most about having his bronzes in personal collections is that viewers can physically interact with them—which they can’t do in public museums. “You can touch them, run your fingers along the surface textures, and polish them smooth with love,” he says. “You can close your eyes and pretend that you are safely making contact with the animal.”
The unique patina not only bestows a sense of authenticity but also ensures that every sculpture emerges as a singular masterpiece, resonating with its own story and charm. Its presence adds an air of sophistication and intrigue, serving as a focal point for conversation and contemplation. A few years ago, I was given the opportunity to collaborate with another sculptor and friend, Rip Caswell, who is known for his wildlife tabletop bronzes and large monuments. Working with Rip and his vast knowledge of the anatomy of animals and with his creativity and skill in sculpting, he has translated some of my favorite photographs into fine art limited edition bronzes.
My photograph of Grizzly 399 and her four cubs became one such muse for conversion into bronze, leading to The Guardian - Grizzly 399 Bronze Sculpture, a new multi-piece work. By design, it is interactive. You can arrange two of the standalone cub pieces any way you like on a table, pedestal, or shelf wall display.
The Guardian follows another bronze inspired by a different photo, Mother’s Love - Grizzly 399, which features 399 offering her cubs the care and nurturing she’s become legendary for.
This magnificent bronze sculpture standing in a foyer is a testament to artistry and grace. Capturing the essence of movement frozen in time, it depicts 399 and cubs in mid-stride, exuding strength and elegance. The bronze surface gleams softly under the natural light, inviting admiration from all who enter.
As visitors pass through the reception area, their eyes are drawn to the sculpture, for its timeless beauty and evocative form. Standing over 36 inches tall it is more than a mere decoration; it’s a symbol of creativity and expression, welcoming all who enter with its silent but profound presence.
The Guardian - Grizzly 399, Limited Edition print and bronze sculpture, Grand Teton National Park, WyomingIn my cabin, I have sculptures by Rip of 399, with her four cubs, a cougar, a pair of green sea turtles and 399 tracks by Kent Ullberg. I love the tactile quality of the sculptures as well as the ability for myself and my guests to view these animals from all angles.
Hope you enjoy seeing a different perspective of some of my favorite images.
Best wishes always,
Tom
Available in different sizes and in small numbers as limited editions, my images and bronze sculptures can be enjoyed in person by visiting a gallery.
Dimensions: 399 and 2 cubs are 23" W x 36 1/2" H x 15" D, Cub #3 is 12" W x 11" H x 8" D, Cub #4 is 12 1/4" W x 10' H x 6" D, When positioned like the print, the set is 40" Wide.
