Thaddeus Mosley is a sculptor who works mainly in wood. Mosley was born in New Castle, Pennsylvania, in 1926, and has lived in Pittsburgh since the mid-1940s. He attended the University of Pittsburgh, where he earned a BA in English and journalism. Mosley was a sports reporter and photographer for the Pittsburgh Courier in the 1950s, and freelanced for publications such as Ebony, Sepia, and Jet. He also edited the book Compositions in Black and White. Mosley was a member of several Pittsburgh-based artists' groups, including Associated Artists, Society of Sculptors, and The Watt Lane Art Club (later Group One). He also taught at Touchstone Center for Crafts for many years. Mosley is the recipient of several awards and honors, including the 2022 Isamu Noguchi Award. In this interview, Mosley discusses his family and childhood in Pennsylvania, including life in a mining town and education; service in the United States Navy during World War II, including discrimination and duty stations; education at the University of Pittsburgh; work history, including developing photographs, writing a sports column for the Pittsburgh Courier, and longtime work with the United States Post Office; interest in jazz music, including attending shows by John Coltrane and Duke Ellington; observations of and involvement in the civil rights movement in Pittsburgh; self-guided approach to sculpting; artistic influences, including Constantin Brâncuşi, Isamu Noguchi, and Jay Leff's African tribal art collection; community of artists in Pittsburgh, including Selma Burke, Sam Gilliam, Charles "Dingbat" Smith, and Charles Wilson; participation in artists' groups in Pittsburgh; Manchester Craftsmen's Guild and Touchstone Center for Crafts; marriages and children; creative process, including sound, materials, scale, and inspiration; shows, including at The Three Rivers Arts Festival, Carnegie Museum of Art, and The Mattress Factory; sculptures, including Miss Birmingham, Phoenix, Mountaintop, and Fanfare for Fannie—for Fannie Lou Hamer; commissions and public art; business of art and racism in the art world; collectors and gallery representation; honors and awards; and reflections on scale and texture in sculptures.