A few of my most favorite paintings from a life full of them.
This end-of-summer fawn is just one of dozens we enjoy here, but I saw this specific Columbian black-tailed deer a few days after he was born, saw it as he grew, saw its awkward stages when he learned to sidle up to the big bucks, saw him grow into a big guy himself. Witnessing this stuff is just the best part of life. Acrylic on canvas.Our dingy for Sea Witch – Lit’l Wizard. Hand-built by a School of Wooden Boat Building student as his graduate project, I rowed and rowed this boat around islands, anchorages and came to love it. It was very fun to paint as well.One of my largest: 130 lineal feet of mural, painted for Necedah National Wildlife Refuge. It’s a refuge now, but before refuge status, it had people such as John Muir (Sierra Club) and Aldo Leopold (the Wilderness Society) as locals. I feel great gratitude to be involved.A painting of Ferndale California when I was just trying out paint – 1970’s. I loved the old redwood fence. I still remember painting it – the painting, not the fence.My dad worked at Mesa Verde for a summer to complete his training to work at the Illinois State Museum. I worked here, too, painting this image for the old historic CCC-era museum. It’s a continuing legacy I don’t take lightly.In cooperation withe Mesa Verde Association, I also painted and built a huge project at the Denver International Airport – had to live behind security for six weeks, an amazingly awful experience. But as with all bad experiences (like sailing), the worst turns into the best experience. All paintings, wall coverings, faux adobe brick, you name it – was simply left up to me by a big corporation that couldn’t have cared less. Given free reign, I do great stuff.And then there’s the 90′ x 12′ painting in Twentynine Palms, painted by Nancy and I in just 17 days. As she said so very well when told we had less than 3 weeks: ‘We are in deep shit’. Well said, my faithful friend, now let’s get to work! We did it.I loved this painting for it’s story, simplicity and brightness – abotu 2015.Before I was savy as to the National Park Service protocol, I used to just waltz in and ask to see the Chief of Interpretation – then explain that they needed one of my paintings in the park. Most said yes!! This one is at Mount Rainier National Park – AMAZING. Today, I’d need an IDIQ, or a XYZ and then some. Painted in 1995. Still there and now part of Mount Rainier’s history.
with more art in America's national parks than any other artist
