By Aaron Allen, The Seattle Medium
At 98 years old, Thaddeus Mosley continues to redefine the boundaries of sculpture and earning recognition for his innovative approach to art. His monumental works are now on display at the Seattle Art Museum (SAM) in an exhibition that opened on November 20 and will run through June 1, 2025. The show offers a rare opportunity to experience the artist’s decades-spanning creations in a single showcase.
Born in New Castle, Pennsylvania, in 1926, Mosley’s work is celebrated for its distinctive approach to movement, weight, and time. His sculptures, crafted from salvaged hardwoods like sycamore, cherry, and walnut, transform fallen trees into biomorphic forms that appear to defy gravity. Using a process known as direct carving, Mosley allows the natural textures and patterns of the wood to guide his designs, creating works that resonate with improvisation and intention.
Mosley’s journey into the art world is as unconventional as it is inspiring. Growing up in western Pennsylvania, he excelled in sports, playing basketball and running track. After high school, he attended the University of Pittsburgh, earning degrees in journalism and English literature. It wasn’t until he took a world cultures class that he discovered sculpture, sparking a passion he would nurture for decades while working as a reporter and later as an employee of the U.S. Postal Service.
“I never thought of myself as having an art career like people who went to art school,” says Mosley. “I just started making things for myself, and I am still making things for myself. I entered the postal service in 1952, and the main thing about that was steady employment. It didn’t demand much creative energy, so I was able to immerse myself in art, and that created a life for me.”
Two primary influences shape Mosley’s work: the improvisational nature of jazz and the abstract expressions found in African tribal art. His sculptures, which often seem to defy gravity, reflect what he calls the “weight in space” concept, inspired by the balance and precarity of jazz.
“African tribal art is one of my favorite muses,” says Mosley. “When people think of African art, you think about the Ivory Coast, Ghana, Nigeria. But I became interested when I met a man in Pennsylvania who had over 3,000 pieces of African tribal art. He built a gallery, and I used to go and look at the works. I became very intrigued with their creativity—how they literally had abstract expressions.”
As a student at the University of Pittsburgh, Mosley often visited the Carnegie Museum of Art, located just across the street from campus. A close friend who was a painter introduced him to the museum’s exhibits, further fueling his artistic ambitions.
“I grew up in New Castle, Pennsylvania, halfway between Pittsburgh and Erie, and all-around western Pennsylvania is football country. Sports was a key thing, and I played basketball and ran track,” said Mosley. “I went to the University of Pittsburgh, studied journalism and English, and the Carnegie Museum was right across from our school. I had a friend who was a painter, and I started going to the museum with him, and that began my journey into artistry.”
Mosley’s work has since garnered national and international acclaim. Catharina Manchanda, the exhibition curator at SAM, expressed her excitement about bringing such a significant collection of Mosley’s work to Seattle.
“This is a really special exhibition and presentation at the Seattle Art Museum,” says Manchanda. “Thaddeus Mosley is an artist who has worked for many, many decades, and I can’t think of anything more rewarding than to create the curator institution that presents one of the largest museum gatherings of his work to date.”
Scott Stulen, the Illsley Ball Nordstrom Director and CEO of SAM, noted the wide appeal of Mosley’s work and the importance of hosting such an exhibition.
“It’s thrilling for me to have joined SAM while we are mounting such a significant fall season,” said Stulen. “Multigenerational crowds have been drawn to the exhibition. We look forward to seeing the many new and returning visitors who will experience this revelatory exhibition and the dynamic visions of Thaddeus Mosley.”
Mosley’s sculptures not only highlight his artistic mastery but also invite audiences to reflect on deeper questions about history, culture, and creativity. His art prompts viewers to consider different legacies and perspectives while celebrating the enduring value of craftsmanship and abstraction.
“I think his work is incredibly important, both aesthetically and in the way it allows us to think about different histories and legacies,” says Manchanda. “It’s the kind of work that prompts us to really think more deeply and develop more questions.”