When you first hear the word Praxis, sports fans might immediately think about basketball star, Allen Iverson’s rant about a word that sounds similar. Perhaps the word Praxis makes you think about a series of tests to become a teacher? Contrary to what some others may think, Praxis is not the latest drug on the market to make you younger, thinner or wealthier. The word Praxis is defined as the act of engaging, applying or the practice and practical side of a profession or field of study, as distinguished from theory or conjecture. Praxis is certainly a the vocabulary word of the day, as well as Timothy (Tim) Callaghan‘s favorite word of the moment.

Praxis is a fitting word for Tim and his apparent approach to his work. While the laid-back persona, casual dress and scruffy beard might give the appearance of someone on vacation, pondering their next beer; the reality is it’s a mask that Tim uses, while he contemplates the deeper aspects of art, community and culture. Tim’s real role is engaging the world, as a professional voyeur and applying what he sees as a documentarian and in the practice of being an artist.

Tim’s quiet confidence is supported by a solid academic background, Bachelor of Fine Arts from the Cleveland Institute of Art and a Master of Fine Arts from Kent State University. It is with his teaching experience and a solid resume that allows Tim to divide his time between adjunct professorships at Cuyahoga Community College, Cleveland Institute of Art and Oberlin College and his true passion, making art.

In an old industrial building on Cleveland’s east-side, is where Tim practices the professional side of being an artist. In a location ripped out of a scene from a movie, is the low-key artist’s retreat. Flights of stairs are the only way to the fifth floor, because the elevator has been broken for months. From the landing, a dark hallway leads through one of the many characterless doors, to a space bathed in natural light from large-framed windows on two sides of the room. Part workshop, part office and part living room, canvases from small to enormous either sit on narrow plank wood floors against the bare brick or are mounted on unpainted, gypsum walls. This is Tim’s space and where he leaves the world of theory and conjecture, for real application.

Despite his academic credentials, more than five years after his first solo art show and countless peer acknowledgments, Tim has an understated reluctance to refer to himself as an artist, preferring the title “Painter” instead; he speaks to his reverence that he has for his craft.

“I still always call myself a painter, before I call myself an artist. Thinking about the idea, of art being this craft, where you learn your history and then you learn the craft of the practice. Then, [after that] you’re suppose to push art forward and make something new, which is great! I was never interested in that [idea] so much. I love my history so much, I want to contribute to it.”

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“With this series, I wanted to do a project where I made portraits so that I could learn something new. It’s something that I never really did, except for a few assignments in college but, it was something that I wanted to develop organically and not be too sentimental.”

The centerpiece of the show will be a painting of the Caswell Family and the largest canvas in the series. The sum of the series might be the story of the North Collinwood couple that met, wed and decided to begin their family in the center of Tim’s adopted neighborhood and the center of his focus.

If you ask Tim what his work is about, you’ll get a chance to see his wry smile as he tells you, “I don’t know what my work is about, that’s why I continue to make, so I can figure it out.”

As he continues to learn about himself and his surroundings, you can be certain that Tim will always carve out time to express himself, and apply the professional side of being a witness, painter and an artist.