For many years I’ve pined to unite my background in environmental science with painting in a more formal way than I have previously been able to do. The vulnerability of natural resources has always been my driving force, my “why” for creating artwork. So when BMoCA approached me to create a body of work to show with them I knew this was my chance.

With the support of the museum director David Dadone and guidance from the curator Jane Burke, I settled on the Colorado River as the topic for the work. It seemed an apt muse given (1) the maze of environmental and socio-political issues surrounding the river and the use of it's water over the last century, (2) the beauty and diversity of the landscapes it carves through on its 1450 mile journey, and (3) the depth of my personal relationship with it as a consumer of its bounty.

And so for the past 7+ months I've been researching, writing and painting to this end. I've created close to 50 new artworks (24 paintings on panel and ~25 sketchbook studies) and a body of poetry to interpret the visual pieces that focus on 7 key locations along the river’s path. My goal was to examine some of the key issues surrounding the use of river water in modern society while highlighting the beauty offered by the slow, tedious work of carving performed by the river over the ages.

Artist Chelsea Kaiah is also contributing work to the show.

The 7 sites along the Colorado River I depicted in “Tracking Time”
*Image courtesy of BMoCA*

How to see the work:

Opening Reception: Thurs, May 23. 6-8pm
Artist tour & talk with hydrologist Natalie Collar, PhD and water policy expert Rachel Pittinger: Friday, June 20. 6-730pm

The exhibition runs from May 23 - Sept 02, 2024 and may be visited by walk-in or appointment during regular museum hours:

Tuesday–Sunday: 11am - 5pm
Closed Mondays

Boulder Museum of Contemporary Art

1750 13th St.

Boulder, CO 80302

(303) 443 - 2122

Artwork preview

I’ve created almost 50 new paintings and a body of poetry to interpret them for this exhibition. See below for a limited preview of a few of the paintings.

*The May Queen,* 60” x 48” | Oil on panel

*Thirsty Bones,* 30” x 40” | Oil, colored pencil, and acrylic on panel

*Big Medicine,* 30” x 40” | Oil, Sumi ink, and acrylic on panel

*Jewel Box,* 60” x 48” | Oil and charcoal on panel

*Edifices,* 30” x 40” | Oil, gouache, and acrylic on panel

*Trona!,* 30” x 40” | Oil, colored pencil, and acrylic on panel

*Dead Pool,* 30” x 40” | Oil, wood glue, oil pastel and acrylic on panel, and *Mirage,* 30” x 40” | Oil, oil pastel and acrylic on panel (diptych)

Poetry preview

I’ve created almost 50 new paintings and a body of poetry to interpret them for this exhibition. See below for a limited preview of a the poetry.

Site #3 - Glenwood Canyon

There’s a jewel box high in the mountains
left hanging there like the last ornament on the tree.
Fringed with curtains of Columbine and Bog Orchid,
it can’t contain the glinting collection of emeralds
that seep slowly from the travertine
into the Colorado below.
A dead horse marked the gulchway up from the river
at least according to the lore
decrepit totem to the travelers beneath, beckoning
come, come and see!
Year after year I drive the careening passages
through Glenwood
always noting the byzantine zag of the rocks
a violent portrait of the carver working dutifully
on these layered walls
aided now and then by a fire
that sharpens the artist’s blade with the sediment
of the burn
sliding away all night
to the consternation of Lake Powell, its heiress.
At the foot of this cleavage
river waters mingle with those from
the Yampah springs
Big Medicine as the Ute called it,
pooling genially into folds hollowed out
by long-dead hands
thrusting upwards into the spark-spray
of the Grand Fountain.
Last time I was there
my daughter soaked quietly in my belly
jelly-like, unformed yet.
She, like the canyon,
is of the water
I reckon