The creation of the original artwork was the first of many steps involved in producing a fine quality Cairn artwork. The original artworks were created out of the different mediums preferred by the artists and these mediums range from clay and wax to stone and wood. Once the original artwork was approved by the studio staff, it was placed with one of the skilled mold-makers. Mold-making is an art within itself and Cairn’s particular master cast mold-making technique is somewhat of a hybrid process between that of porcelain molding and the lost-wax process usually associated with bronze casting.

After each individual master mold was made, (a process that usually takes several days), we hand-cast each artwork or prototype to be sourced in mediums that consist of either filler and clear based resins OR pure bronze powder and resin. These mediums, which were much more expensive than the standard “porcelain or hydrocal slip”, generate tremendous heat as they begin to cure. It was Cairn’s special ingredients along with the slow curing process that allowed them to capture the very intricate detail which became the hallmark of all Cairn Studio artworks. Since the artworks possess what was call “green strength” when they are gently hand-cast from their molds, Cairn was able to offer cast figures with sculptural detail and severe undercuts that are far beyond the capabilities of most other studios. For instance, when comparing the detail of a Cairn Studio Creation to a typical porcelain casting, the tremendous difference between Cairn’s intricate detail and the simple, smooth look of porcelain reproductions is realized.

Cairn’s mold and casting process standards severely limits the artwork’s mold-life and it is this mold-life limitation that makes the offerings so very limited. Since the original creations are usually destroyed during the initial molding stage, and since each mold produces limited castings, each Cairn artwork is one piece of a limited edition offering whose total is determined by the life of the individual mold.

After the artworks had been hand-cast, each piece was carefully inspected in accordance with specific details laid out in advance by the artist. Next, the mold seams were carefully sanded and the parts, all signed, numbered and dated, were washed in a special solvent in preparation for painting.

The painting procedure was done by individual artisans who were responsible for the total painting of each creation. There was no mask painting associated with a Cairn Studio Creation. All painting was done free-hand with specially blended paint that was compatible with the antiquing stain. Once the part was painted, it again went through a drying process as the cast and then-painted part still continued to cure. When the part was fully cured and dried, it was ready to be antiqued.

The antiquing process was a very lengthy process. Each part was individually sprayed or submerged in a special stain, hand-wiped and then hand-brushed until the proper finish was obtained. Next, each face was buffed with damp rags (dipped in a special thinner) to insure that the laugh lines, wrinkles and all the intricately sculptured detail “jumped out” of each distinct personality.

After the antiquing process was complete, the parts were again inspected and then hand-lacquered with a special sealing agent. Finally, the artworks were individually felted and wrapped in plastic bags and placed in individual boxes with their respective Certificates of Authenticity and collector registration postcards.

Cairn Studio’s registered collector base includesd such notables as Barbara Bush, Bob Newhart, Stephen King, William Manchester, Princess Juliana of the Netherlands, Alan Alda, Ed Harris, Senator Jesse Helms, Senator Lauch Faircloth, Governor Jim Hunt, Governor Jim Martin, Candice Bergen, Dean Smith, Arnold Palmer, Ben Hogan, Willie Shoemaker, Joe Garagiola, Charlie Daniels, the members of “Alabama”, Bill Elliott, Jeff Gordon, the late Lucille Ball, Lloyd Bridges, Jimmy Stewart, Jim Henson, Bo Schembechler, and Bear Bryant. 

It is not unusual to find collections that number in the hundreds, and there are many Collectors who have over one thousand of Dr. Clark’s statues. There are many reasons why people collect Tom Clark’s creations. The statue may celebrate a special occasion (such as Our Wedding), or remind them of a loved one (Anne), or celebrate one’s hobby or occupation (Boxcar Willies or School Marm). Many of Tom Clark’s Gnomes are simply sweet and gentle companions and Collectors say that just looking at them brightens their day.

NAMES: The names of my statues are chosen either to honor members of my family, or friends, or to reflect some characteristic of the statue itself. For instance, Mattie is named for an aunt of mine, and Chase is named for an uncle. Meg and Nath were named for friends. Wilbur, holding a paper plane in his hand, is named for Wilbur Wright. Shorty, on the other hand, is a nickname suggested by strawberry shortcake. The names do not come to me until the piece is finished.

CREATION DATE: The creation date is expressed by the month and year I completed the original statue. There is no one day when the statue is totally finished. The clay work is completed at one time, the mold is poured on another day, the first casting is yet another day. By using only the months, each of these days is covered.

EDITION NUMBER: The edition number, which is written within a small circle on the base of the statue, denotes the mold from which the statue was cast. It does not denote the total number produced. For instance, if the number circled is 10, then it is one of a limited number of statues which was poured from the 10th mold.

MOLDS: The silicone rubber mold has a very limited lifespan, due to the casting process which produces heat and eventually causes the mold to be too brittle for continued use. The small pieces can be removed from the mold within ten to twenty minutes. A larger piece, like Dr. Grey, will have to cure inside the mold for a much longer period of time, hence causing more rapid damage to the mold. There will be much fewer castings to a mold for Dr. Grey. In all cases, the mold is subject to tearing, an additional reason for the unpredictability of the life of each mold.

COINS: The coins were not a feature of the statues in the beginning. The first coin used on a statue was a Dutch one which was placed on the base of Mom. When this was seen to be an interesting addition, I began adding coins to more and more of the figures. Often I would change the coin from one edition to another. Sometimes a character, like Caleb, would have a coin on one edition and then would have spent it by the next! The miniature figures, like Nellie and Hattie, do not have coins because they are not of appropriate size for the figure. The Gnomes and Woodspirits, however, are life-size, so they can sustain a life-size coin!

RETIREMENT OF STATUES: There are a number of factors that determine when a statue is to be discontinued: (1.) The artist can set a “retirement date” for any reason he chooses. (2.) If a statue is very difficult to cast or paint, it may be discontinued sooner than other statues. (3.) If the statue has been in production for a reasonable length of time, it is retired even though it is popular. The statues are very much like senior citizens, because they often quit when they are still in their prime, and they become valuable and precious when they are retired!

STORIES: As I sculpt my little people, a sense of their lives and histories emerges in my thinking. Their personalities and interests become clear to me, as a child’s would to a parent. Of course, as they leave me and go out in the world, they may be thought of differently.