To say that McCollum's resources were limited in this case is an understatement. "Working on busts is not only capturing a protege's face; a lot of it has to do with hair, beard, look in the eyes, clothes, etc.," McCollum says. The goal, he argues, is that, "You want the people looking at a bust or a sculpture to be able to recognize the protege." Part of the victory of the artist is for the audience to know who the subject is; the rest is to give the bust some expression. This is the real challenge, McCollum says.

To achieve these goals and win these victories requires passion and motive, McCollum says. He argues that if an artist doesn't feel inspired, then it is very difficult to create a work of art that is attractive or conveys any feeling. Even beginning the process requires "that you have been inspired and you have a desire to create something," he says.

This investment of passion doesn't preclude making a profit from art. He has sold many of his sculptures, although the one to Vesalius College was donated.

"I do work for my own satisfaction," McCollum says, "however, I would say there is another sense of satisfaction when somebody wants to lay down some cash for something that you have created." At first, he was often hesitant to sell something that he had put so much of his own passion into, but there is also satisfaction and motivation in selling his works to others.

"When people buy my works, I have a desire to create something even better," McCollum says. The completion of each statue opens the door to going back to the beginning and perhaps do things differently, he says, a process which provides inspiration for the next piece, and so on.

McCollum prefers to sculpt outside, surrounded by the natural world. Not only is the setting more beautiful and the light much more conducive to the detailed work of sculpture, the clay tends to dry and set a little quicker...

Working outside allows McCollum to set up the rough form of the piece quickly and move on to the details sooner.
McCollum currently exhibits his works near his home in France, at art fairs and in some restaurants. His first exhibition, which he considers his most memorable, was just about a year after he started sculpting. He had created about 30 statues, and he "wasn't too keen having an exhibition," he says, because he "wasn't sure that people would be interested or would appreciate" his art. McCollum had just been interviewed for a local paper in Alsace, France, and the publicity brought people out to the exhibition. The article as only half a page, but it included photos which allowed people a preview of what the exhibition would offer.

McCollum sold 13 sculptures at that first exhibition and experienced the sweet satisfaction of people appreciating his art. That first exhibition, he says, gave him the courage and inspiration to keep sculpting and keep improving his techniques. Now, only a few years later, his work is taking up permanent residence at Vesalius College.

McCollum is coy when comparing American and European art audiences to each other. He does appear to believe that there is a different level of art appreciation between the continents, but says that "it is difficult to measure." Apparently, major metropolitan areas of the United States have a great appreciation for art, and most areas of Europe appreciate art as well. When pressed, McCollum does reveal his prejudice. "I would say, in both continents, there is not much appreciation for classic art," he says.

When asked to give advice to the next generations of sculptors, McCollum returns to his own basic philosophy. "Have passion. Live and discover. Don't sit back and wait for it to happen. Go out and find out what you enjoy doing and keep doing it for the rest of your life," he advises.