Donna Seager Gallery
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Troy Pillow
Morph, Troy Pillow at Donna Seager Gallery   Karat, Troy Pillow at Donna Seager Gallery   kauai, Troy Pillow at Donna Seager Gallery   Stratus, Troy Pillow at Donna Seager Gallery   Propulsion, Troy Pillow at Donna Seager Gallery   Acer, Troy Pillow at Donna Seager Gallery   Acer, Troy Pillow at Donna Seager Gallery   Catalog, Troy Pillow at Donna Seager Gallery

Morph, Troy Pillow at Donna Seager Gallery
Morph, 4' x 2' x 1' painted steel, Sold

Catalog, Troy Pillow at Donna Seager Gallery
Troy Pillow Sculpture

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Troy Pillow

The sculptures of Troy Pillow are easily recognized by their elegance, simplicity and meticulous attention to detail.  Pillow’s sculpture is meant to interact with nature, not to overpower it.  When I first met Pillow in 2002, he was living in California making mostly residential and garden kinetic sculpture.   Coming from New Orleans where George Rickey was an artist-in-residence at Tulane University, I was spoiled by seeing Rickey’s sculpture regularly at the Katz and Besthoff building and the New Orleans Museum of Art.  Until I saw Pillow’s work, I had found other kinetic sculpture to be generally clumsy and unable to react to nature in the way that I had come to enjoy. Pillow’s sculpture excited me.  They were fluid and responsive to their environment.  I had always felt that for a work of art to ring true, it had to resonate with nature in some fundamental way.  From the beginning, I knew that Pillow had the instincts, originality and skill set to make his mark, not to mention an astonishing work ethic.  At the time he was working in a rented airplane hangar and was often there from early morning til late at night.

Pillow left the Bay Area to move to Seattle.  He wanted to grow and he was ready to move to larger works.  The move proved to be a good one for him.  Seattle Art Museum’s Olympic Sculpture Park inspired a community that was turned on to sculpture and many builders and developers had come to include sculpture in their plans.  He rented a building that had been an old gas station in Seattle and set up shop.                                                          

In large scale work engineering becomes a necessary topic to insure the safety of the artwork as well as the people living around it.  Many cities require that any sculpture over 8' has a complete stamped set of engineering calculations explaining the weights, seismic and wind load and attachment to the footing or building.  Pillow took to these challenges like a fish to water.  His earlier studies in architectural engineering are of great use to him. Working with computer programs that interface with architects, engineers, and developers creates a very straight forward approach to conveying the artist’s ideas ensuring a successful project.

Detail is important to Pillow. He strives for  excellence in his workmanship and his sculpture is characterized by clean lines and seemingly invisible welding.  He could be compared to Fletcher Benton in his insistence on flawless craftsmanship.  He is ever mindful of the critical tension between heavy materials and the appearance of weightlessness.  He understands his materials, whether working in steel, glass or bronze. 

Pillow loves to design projects to work with their specific environment.  He is sensitive to issues of scale – too big and the sculpture will trump the overall harmony of the surroundings, too small and it will be lost.   He favors work that interacts with place – its landscape and weather – in a way that enriches the viewer’s experience of being where they are.

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