The gallery · the walk

Every work

Every painting and photograph in the gallery. Every size of every work is its own numbered edition.

One work at a time, hung large on a lit wall. Scroll, swipe or use the arrow keys to walk on.

Before sunrise on an Iowa farm: a barn, a silo, a windmill and a farmhouse with one lit window stand dark against an orange horizon under a deep blue sky, the yard light glows amber, and Venus shines high above.
First light strikes the snow-streaked summit of a Colorado peak in orange and rose while the valley, the forest and the still lake below are still in cold blue shadow; a pale moon is setting in the morning sky.
The sun has just set behind the Colorado Front Range: layered blue and violet ridges, rays of light and shadow fanning up from the highest peak into a gold sky, and the prairie below with cottonwoods and a fence line in the last light.
A painting of a mountain at alpenglow that is only fully painted where the eye lands: the pink peak at the golden section is dense with brushwork, while the sky, forest and meadow dissolve outward into loose strokes, bare canvas and the faint lines of a golden-ratio construction.
The Pine That Stayed. A photograph of The Front Range foothills, Colorado.
A single white tulip flamed with crimson rises from a slim green glass bottle on a stone ledge against a dark background, beside a papery tulip bulb, a small stack of gold coins and one fallen flamed petal.
The Ribs. A photograph of Fort Stevens, Oregon.
A screenprint of the Grand Canyon at sunrise: layered red and orange buttes stepping away into blue haze, deep violet shadows in the side canyons, a glint of the Colorado River far below, and a single pine on the rim in the foreground.
The River Meets the Sea. A photograph of The Klamath River mouth, California.
The Road Through the Giants. A photograph of The redwood forest, northern California.
The Rock. A photograph of Alcatraz Island, San Francisco Bay.
A halved nautilus shell lies on deep blue cloth, its pearly chambers spiralling inward in perfect proportion, lit softly from the upper left.
The Sandbar. A photograph of The Klamath River mouth, California.
A snowy Iowa field at dusk, facing east: the dark blue shadow of the Earth rises from the horizon under a band of pink light, a full moon comes up inside it, and a fence line runs off across the snow.
The Sign Over the Square. A photograph of Ghirardelli Square, San Francisco.
The Snag. A photograph of The redwood forest, northern California.
The Stacks at Dusk. A photograph of The Mendocino coast, California.
The Stairs Below the Cellhouse. A photograph of Alcatraz Island, San Francisco Bay.
A single deep red rose stands in a tall clear glass of water on a white marble ledge against a dark slate wall; below the waterline its stem appears shifted and thickened by refraction, and a bright caustic of light falls inside the glass's shadow.
The Sun Comes Through the Gate. A photograph of Fisherman's Wharf, San Francisco.
The Sun in the Footbridge. A photograph of Mt Hood National Forest, Oregon.
The Sun Lands. A photograph of San Francisco Bay.
The Surf Comes In. A photograph of The northern California coast.
The Surf Like Silk. A photograph of Cannon Beach, Oregon.
The Trunk. A photograph of The redwood forest, northern California.
The Twisted Redwood. A photograph of The redwood forest, northern California.
A lone figure seen from behind stands on a rock outcrop above a sea of clouds, facing a range of pink, sunlit peaks at dawn.
A mountain lake: above the shoreline a green summer forest and peak under white clouds; in the reflection below, the same mountain and trees in winter snow under a rose and violet sky.
The Whole City, Lit. A photograph of San Francisco from the bay.
A close view of grass blades and spider silk beaded with morning dew, backlit by a low gold sun; the largest drop holds a tiny upside-down sunrise.
The Wreck of the Peter Iredale. A photograph of Fort Stevens, Oregon.
Thor's Well. A photograph of Cape Perpetua, Oregon.
Two ravens over a dusk prairie. One flies large and sharp against a peach and violet sky; the second, further off, is faint and coming apart into the clouds.
A picture in the manner of a Japanese woodblock print: snow-capped Mount Fuji rises over a valley, a red five-storey pagoda stands on the hillside among pink cherry blossoms, and a blossoming branch reaches across the top of the sky.
An Iowa grain elevator stands in silhouette beside railroad tracks that run straight to a flat horizon, where a huge orange sun is setting over golden soybean fields under clouds lit from below; power poles line the track.
A linocut of Deadvlei: black, twisted dead camel thorn trees stand on a white clay pan, a towering orange dune behind them is split by a sharp ridge into sun and shadow, and the sky is a deep blue.
Two Sets of Footprints. A photograph of Fort Stevens, Oregon.
Under the Bridge. A photograph of Russian Gulch, Mendocino coast.
Up the Tower. A photograph of The Golden Gate Bridge.
Wahkeena Falls. A photograph of The Columbia River Gorge, Oregon.
Weather Over the Front Range. A photograph of The Front Range, Colorado.
What the Sea Left. A photograph of Fort Stevens, Oregon.
A golden wheat field under a hazy summer sky, threaded with red poppies that gather into a crimson river along a furrow, a single oak on the horizon; in front, large poppies glow scarlet with the sun behind them, buds still hanging their heads.
A hiker on a winding trail through a subalpine meadow of purple lupine and red paintbrush, climbing toward a vast glaciated volcano under a deep blue sky.
Wildflowers at the Edge. A photograph of The Mendocino coast, California.
Yellow Daisies, Blue Pacific. A photograph of The northern California coast.
Blue and white Colorado columbines bloom in a high alpine meadow among grasses and red paintbrush, with white aspens and jagged sunlit peaks behind under a deep blue sky.
The end of the walk

You have walked Every work.

Every work you passed can go home with you, framed and signed.