Thom explains these works

These models for larger installations are meant for public spaces: universities, places of meditation, healing and art. All art is dead matter until someone comes to bring it to life. The arrival of a viewer creates another type of kinetic energy that heightens the impulse toward transformation and transcendence. My early pieces in plaster invited people to sit in the Shaman Seats, to stand beneath arches or beside bronzes larger than life.

I often combine fire, earth, air and water to fully engage the mind and body. My concept “Sacred Place, Sacred Space” and my belief in sacred space rises from having experienced ley lines, alignments and power points, most directly in Ireland. Ancient places of reverence and peace, their energy forces have a magnitude to transport a viewer from the physical to the numinous. I think there’s a secular hunger for the sacred now. Sacred Place, Sacred Space invites people to experience a deeper, inward awakening.

Explanation Cosmic Harp

…captured by unquestionable beauty and haunting links to ancient civilizations…we remain oddly unsettled by a lingering sense of a lost past and the attendant alienation of modern man.

— Everett Potter
Catalog, International Art Fair – Basel, 1987

The Maquettes Gallery

[Thom Cooney Crawford] would like to integrate the human spectator into the piece. He sees his sculptures as an invitation to merge, to become one with the form.

— Marc Albert-Levin
Art Critic, Writer & Translator