Timothy Callaghan (b.1976)
Akron Sky, 2019
Commissioned by Summa Health
Materials: Gouache on paper, 30” x 40”
Location at Summa Health: Dr. Gary B. and Pamela S. Williams Tower on the Akron Campus (141 N. Forge St.), blue neighborhood, fifth floor hallway, outside patient rooms H5-131 and H5-132.
About the Art
This commission stipulated that the artist would depict views from the top of Summa Health's new patient tower, and so Timothy Callaghan did: First a series of flat rooftops visible to the east and then another more distant view of the Akron skyline from the west end. Using his artistic license (it comes with the degree), he combined these and inserted a nearby street, then foliage and angular, constructed shapes to fill in the areas between the disparate views. His synthesis, even if fictive, is visually satisfying. Busy areas of color patches contrast with the restful horizontals in the sky (itself synthesizing hues of sunrise and sunset), wide areas of horizontals meeting in corners in the foreground seem to call forth the tall, uninterrupted verticals of the high rises behind them, lined up across the composition as though on parade. After we understand how this composition works, we start to notice details: Can we identify the church on the left? … the filling station? … those skyscrapers in the distance?
This artist says that he enjoyed the challenge of the terms of the commission (and we should recall that, until the Renaissance in the 15th century, art and architecture were almost always created by commission, working within very specific limitations, not by an artist working on her/his own to express individual originality). Callaghan tells us that he has always been particularly interested in the places and things right around him, which might be things we’d not at first think of as interesting: Neglected house plants scattered across a floor or snow-bestrewn cars in a parking lot. He begins work on site, in plein aire, from direct observation. He sketches in ink in a large-format sketchbook and also takes a few quick mobile-phone photos for future reference. And he looks and looks. He says that his memory of what he paints is perhaps the most important part of his preparation, especially for color but more generally for the space and feeling of what he is observing.
St. Thomas School of Nursing, Akron Sky II, St. Thomas Hospital, each 2022 (left to right)
Commissioned by Summa Health
Materials, size: acrylic on canvas, each 36" x 36"
Location at Summa: Juve Family Behavioral Health Pavilion, second floor, north hallway
About the Art
This trio of works was created by artist Timothy Callaghan based 1) on an old photo of the St. Thomas School of Nursing; 2) on his sketch of the facade of the current St. Thomas Hospital (on the right); and 3) a request to capture a view of Akron from St. Thomas Hospital. So, this group of images bears historical significance and at the same time is very much made to order and contemporary.
We can appreciate some of the things that the artist did to tie the three disparate images together as a triptych: The two lateral compositions are structured sort of as roughly symmetrical, shallow-focus wings on either side of the very different, deep-focus cityscape. The striated skies above the left and right buildings converge toward the central painting, in which the stripes are purely horizontal, less cloud-like especially as contrasted with Callaghan's signature rendition of cumulus clouds, those delightful lumpy configurations in the central canvas) and keep the sky from being just fill-in. The foliage in the three paintings spins out three of Ohio's four seasons, in sequence, from left to right. And in each image, the artist contrasts areas of what we might think of as architectural obsessive-compulsiveness -- painting all those bricks in the façades in the two flanking canvases and painting all those windows in the skyscrapers of Akron Sky II -- with the freer, more expressive and certainly more characteristic (for him) brushstroke gestures for foliage.
At the same time, the artist doesn't want us to think of these just "paintings reproducing a couple of old photographs" or to find those two lateral façades -- the nursing school at left, the hospital entrance at right -- repetitious. So, he does things like inviting us to note both similarities and differences in design, structure, and building material by making the two compositions almost -- almost -- mirror each other. He then contrasts these two close-ups with what we can discern of the buildings deep in the central painting, where dignified entrances and materials really aren't on the menu. He has set up the images, and the grouping, so that we can visually enjoy them as the result of one person's interpretation, as well as understand them in historical context.
A final feature of this group calls for mention:
The three sisters on the steps of the nursing school Callaghan retained from the archival photograph, 'though his free-spirited paintings of urban architecture rarely include human figures. Whether these are students, clad in the long black cloaks and winged white caps typical of the day, or whether they are members of the teaching order of nuns, the Sisters of Charity of St. Augustine, associated with the school, was not clear in the photo. Either way, for the artist they became emblematic of the role that the nurses of St. Thomas, led by Sister Mary Ignatia played in making compassionate care as important as medical science in the treatment of addiction. For this, Sister Ignatia became known as the "Angel of Alcoholics Anonymous," associated with the organization's other founding figures, Bill W. and Dr. Bob. The religious origin of that caregiving and the instrumentality of Sister Ignatia are fundamental parts of the institution's history, to which Summa Health, and the city of Akron, can point with understandable pride.
In such a light, we recognize that this contemporary triptych by Timothy Callaghan also celebrates the intersection of faith-based and science-based human endeavor.
About the Artist
Timothy Callaghan approaches art as a rewarding challenge, embracing the constraints of each commission to create something deeply connected to his surroundings. His process, rooted in tradition, aligns with the practice of artists through history—working within defined boundaries rather than expressing individual creativity in isolation. Callaghan's work is driven by his fascination with the overlooked, the quiet beauty in the everyday—whether it's a neglected houseplant lying forgotten on a floor or snow-covered cars abandoned in a parking lot. His observations are meticulous, beginning with on-site sketches done in plein air, often complemented by quick mobile-phone photographs that he refers back to. But it is his memory, especially of color, that plays a central role in his artistic preparation. He believes that prolonged observation transforms what we see, offering new perspectives each time.
"Anything can be my subject," says Callaghan. "Because when we look at something for a long time, it changes, and we begin to see it differently. That’s what first attracted me to painting—the fact you can look at the same things over and over, and each time, they become something entirely new."
Callaghan's unique style invites viewers to see ordinary subjects—like withered plants or snowy trucks—through a fresh lens, revealing hidden beauty in what would otherwise go unnoticed. His work is particularly attuned to the charm and complexity of vernacular architecture—the everyday buildings and homes that populate our neighborhoods. This ability to elevate the mundane is one reason he was chosen to create a commissioned piece for the local community. As Callaghan describes in an interview with Cleveland's Collective Artists’ Network, his process is driven by an excitement to share the overlooked aspects of the world around us.
Gouache: The Medium of Choice
Callaghan favors gouache, a medium that mirrors watercolor but offers the intensity of opaque pigment. This choice results in vibrant, unmodulated hues that define his work. For instance, in Akron Sky, he uses contrasting and complementary colors to craft a scene full of depth and texture, from the trees in the middle ground to the clouds overhead. Each brushstroke is deliberate, capturing the movement of the landscape and inviting viewers into a visual experience that is both dynamic and harmonious. The simplicity of his forms, combined with the boldness of his palette, creates a visual energy—an electrifying crackle—that adds life to the scene, transforming the ordinary into something extraordinary.
Teaching and Mentorship
Beyond his work as an artist, Callaghan is an accomplished educator. He has taught painting and drawing at institutions like the Cleveland Institute of Art, Kent State University, Cuyahoga Community College, Oberlin College, and Lake Ridge Academy. His book One Painting a Day serves as both a guide and inspiration, documenting his disciplined approach to his craft. In 2018, Callaghan participated in a residency sponsored by the FRONT International Triennial in Cleveland’s Glenville neighborhood, where he shared his artistic practice with students, reinforcing the importance of daily commitment to the creative process.
Where to Experience Timothy Callaghan’s Work
Callaghan’s art is widely exhibited, both locally and nationally, and can be viewed on his website. His work can be seen throughout Cleveland and beyond, including in New York, where it has garnered significant attention. His paintings and drawings are part of the collections of the Cleveland Clinic and the Cleveland Artists Association.
Timothy Callaghan’s art continues to transform the familiar, inviting us to see our surroundings in a new, vibrant light.
The Healing Arts at Summa Health
- Next featured artist: Stephen Canneto
- Homepage: summahealth.org/art
- More artwork in new patient tower