36 Views of Baylor Canyon
The color drawings of this series were completed in the high desert of southern New Mexico at the foot of the Organ and San Andres Mountains. These low mountains form a boundary or barrier between the Rio Grande Valley to the west and the Tularosa Valley to the east. Two passes—Baylor Canyon and San Augustin—connect the activities of the largely civilian Rio Grande Valley to the Tularosa Valley, which contains one of the worlds' largest weapons testing facilities, White Sands Missile Range, as well as the Trinity Site, the location of the first atomic bomb detonation.
As a result, the drawings encompass many elements of everyday, quiet domestic life that stand in stark contrast to the growing global impact of national defense; the work of the home and studio take place next to a sprawling military-industrial complex, the activities of which regularly overflow the mountain barriers in the form of afterburners, aftershocks and extended periods of circling remote-controlled drones on training runs.
Although the two worlds of the valleys clearly overlap, domestic settings dominate the drawings—no military actions are directly depicted, but rather are alluded to primarily through titles and the proximity of the ever-present mountainous boundaries. As such, the mountains play several important roles as geographic, political, visual and conceptual connectors or barriers between the valleys.
The series’ title makes reference to Hokusai’s images of Mount Fuji, which functioned as a symbol of national beauty, strength and pride. In the Baylor Canyon series, Mount Fuji has been replaced by a largely unknown, nondescript location and landform that, given the activities of White Sands Missile Range, could be understood as a symbol of national might. But those same activities, in their aggression and destruction, also bring hesitation and doubt that are almost imperceptibly juxtaposed against daily, domestic life.
Artist Bio / CV
University of Pennsylvania, MFA
Carnegie Mellon University, BFA
see you again last year, Community College of Baltimore County, Baltimore, MD
Landscapes into Art, C. Grimaldis Gallery, Baltimore, MD
Julia’s Garden, George Mason University, Fairfax, VA
Once Again, Again, McLean Project for the Arts, McLean, VA
Flat Files, Pierogi, Brooklyn, NY
The Figure: Transcribing the Human Form, Western Oregon University, Monmouth, OR
Language, Place, and Object, Washington Street Art Center, Boston, MA
Wonderwall, College of the Siskiyous, Weed, CA
Terrestrial Forces, Museum of Fine Arts, Florida State University, Tallahassee, FL
Unknown, Ventura College, Ventura, CA
285 Miles, Rogue Community College, Grants Pass, OR
Take Me to the River, Sierra Arts Foundation, Reno, NV
New Talent IV, Signal 66, Washington, DC
Texas National, Stephen F. Austin University, Nacogdoches, TX
Vital Signs: Drawing as Inquiry, Creative Arts Workshop, New Haven, CT
What Is Drawing Now?, Weber State University, Ogden, UT
New American Talent 14, Texas Fine Arts Association, Austin, TX
Blush, ArtSites 98, Maryland Art Place, Baltimore, MD
Recent Monotypes, Pennsylvania School of Art and Design, Lancaster, PA
The Pollock-Krasner Foundation