Wolfville, Nova Scotia lies in the heart of the Annapolis Valley agricultural region on the Bay of Fundy. Acrylic and watercolor on Arches.

An impression of the Scottish countryside from the Jacobite Steam train as it heads from Mallaig to Fort William.
Acrylic on Arches.

An abandoned house adrift on a sea of green near the Westfjords, Iceland
Inspired by the photography of Sigurgeir Sigurjonsson.
Acrylic on Arches.

Driving east on the way to Fludir to visit the thermal "secret lagoon".
Acrylic, watercolor on Arches.

A farm on the road to Fludir, a thermal lagoon. Acrylic, gouache on Arches

Bergen, Norway, a medieval wharf with colorful Hanseatic League wooden commercial buildings. This view is from a high street above and behind the wharf.
Watercolor and gouache on Arches.

A barn near Lunenburg, Nova Scotia pairs well, I think,
with Frank Stella's graphic, hard-edged color.
Acrylic, gouache, watercolor on Fabriano.

Another painting with a different Shepard Fairey poster.
Gouache & watercolor on Fabriano.

Inspired by Richard Diebenkorn and with thanks to Shepard Fairey.
Watercolor on Fabriano.

Combining a bright Nova Scotia barn with intricate quilted siding and the free flowing style of Morris Louis. Gouache and watercolor on Fabriano.

Colors, shapes and shadows rendered in stark relief by an unrelenting sun.
Acrylic and watercolor on Fabriano.

Early evening light, a fish shack in the tiny village of Blue Rocks. Gouache and watercolor on Arches.

Blue Rocks, a different season and different light. Gouache and watercolor on Arches.

The fishing shack standing as a lonely sentinel before a turbulent sky. Gouache and watercolor on Arches.

The same scene in different light.
Gouache and watercolor on Arches.

A landscape of low rolling hills and ochre grasses randomly bisected by weathered fences.
Watercolor and Gouache on Fabriano.

A sere landscape of dry grasses and pale colors.
Acrylic and gouache on Fabriano mounted to board.

A grain storage plant in rural Carleton, Oregon. It's angles and shadows seem well paired with Kelly's linear color panels. Watercolor and gouache on Arches.

New Mexico, the Santa Clara pueblo, a unity of earth, color, shape and sky. Watercolor on Arches.

This work painted in admiration of the wonderful Stuart Davis retrospective at The National Gallery. "Composition" is in the Smithsonian American Art collection and the row house is in Halifax, NS. Watercolor and gouache on 300# Arches.

A study in geometry and texture, sunlight and shadow in an old neighborhood. Acrylic on 300# Arches.

This barn is in Blockhouse, Nova Scotia and I've paired it with one of Kenneth Noland's earlier "Circle" paintings. Gouache and watercolor on Arches.

One of the great color field painters of the Washington school, I've paired this work with a barn near Lunenburg, Nova Scotia.
Gouache and watercolor on Arches.

Blue Rocks, a tiny self-sustaining fishing village near Lunenburg.
Acrylic, gouache and watercolor on Arches.

The painting on the barn doors is after Kenneth Noland's "Circle" paintings.
Gouache and watercolor on Arches.

An iconic grain elevator in Carlton, Oregon and maybe an American Gothic.
Acrylic, gouache and watercolor on Arches.

A major figure in the New York School and a foremost color field painter, Newman created large canvases of flat, hard edged color. The Oddfellows Hall, Brooklin, Maine. Gouache and watercolor on Arches.

A founding member of the Washington School , Noland favored shaped canvases, particularly triangles and circles. This house is near Sedgwick, Maine. Acrylic, gouache, watercolor on Arches.

Once a home, now empty, yet still with traces of it's past life. Acrylic, gouache and watercolor on Arches.

Continuing the exploration of geometric form. Gouache and watercolor on Arches.

Another weathered barn in my geometric color field series, this one in Flye Point, Maine. Acrylic, gouache, watercolor on Arches.

This intricate barn in Brooksville, Maine seems to share common geometric ground with Albers.
Gouache and watercolor on Arches.

Kelly's geometric color field painting seems very much in unison with the vernacular architecture of rural Maine. Acrylic, gouache and watercolor on Arches.

Descended from the American painter John Trumbull, Mason painted in a non-objective abstract style almost her entire career. Her work fits quite nicely with this barn in Deer Isle, Maine. Acrylic, gouache and watercolor on Arches.

Sunrise, herring nets in the sea, Lubec, Maine.
Gouache and watercolor on Arches.

A Maine barn with a rich and well worn patina.
Gouache and watercolor on Arches.

Showing its character and age, this barn has weathered many harsh Canadian winters. Gouache and watercolor on Arches.

Neatly stacked firewood against a jigsaw pattern of shingles. An exposed landscape bracing for harsh weather.
Gouache on paper.

Looking out to sea, soft colors under a changing sky on the south coast of Nova Scotia. Gouache on paper.

The Palace of The Governors on Santa Fe's central plaza with its heavy oak doors dating back to Spanish times.

Gouache and watercolor on Arches

Uniform and with a simple formality these structures complement the moody and overcast skies.
Pastel and gouache on board,

Rocks and sky surround this tiny fishing village on the south coast of Nova Scotia.
Gouache and pastel on board.

Dramatic light and clouds illuminate this small and beautiful fishing village on the south coast of Nova Scotia. Pastel and gouache on board.

Weathered and looking out to sea this dory sits perched on coastal rocks near the town of Lunenburg. Pastel and gouache on board.

A lone red barn in an open field under unsettled skies. Pastel and gouache on board.

Two red barns on a farm outside Charlotte Town, Prince Edward Island.
Gouache on torchon paper.

Green fields and old red barns dot the farmland out beyond Charlottetown. Pastel and gouache on board.

An expressive sky and deeply shadowed angular land forms in the Namibian desert. Pastel and gouache on board.

Dunes that rise like swelling waves on a flat sea. The elemental colors of the Namibian landscape.
Pastel and gouache on board.

Namibia, an otherworldly landscape of vast sky and wind carved dunes. Pastel and gouache on board.

The great windswept dunes lay upon the land in ever shifting folds, creases and swells. Pastel on board.

The contoured valleys and waves of the Namibian dunes. Pastel on board.

Factories in the New Jersey meadowlands. Pastel on board.

An industrial plain rendered in geometric shapes. Pastel on board.

A factory town heading north past Baltimore. Pastel on board.

The New Jersey meadow lands, bisected by rivers, bridges, factories, railroad and Turnpike. The gateway to New York City. Pastel on board.

The industrial landscape near Baltimore. Factories and an empty shopping mall just beyond the train trestle. Pastel and watercolor on board.

An American industrial landscape, both past and present. Pastel on board.

Warehouses and a graffiti covered train trestle in southern New Jersey. Pastel on board.

A scene in New Jersey along the train corridor from Washington to New York.
Pastel on board.

Houses squeezed between railroad tracks and factory buildings in this landscape between Washington and New York.
Pastel on board.

Just after dawn, some lobster boats still in the harbor and another day begins in the working village of Stonington, Maine Pastel on board.

Heavy mist and fog over the harbor at Lubec, Maine.
Pastel on board.

Weaving its way above city streets and between buildings, with its remnants of rail augmented with lush plantings, the New York City High Line is a joy to behold and to stroll.

The sun is just setting along the coast at Port Clyde, Maine, the village from where one takes a ferry to Monhegan Island.
Pastel on board.

Roswell, New Mexico, still clinging, somewhat forlornly to it's position as the epicenter of extra terrestrial sightings.

Roswell, New Mexico, a warehouse and burrito take-out near the rail yards.
Pastel on board.

This is the entrance to the Randall Davey studio in Santa Fe. Inspired by the culture and brilliant light in New Mexico he painted there from the 1920's until his death in 1964. His work is in the Whitney Museum, the Corcoran and the White House.
Pastel.

Elemental and stark rock formations in the arid Nevada landscape.
Pastel on board.

Elemental, dessicated, abstract, a bare geologic form in southern Utah. Pastel on board.

The Navaho refer to "Father Sky" and "Mother Earth". Late summer afternoon and thunderheads rise over Santa Fe.
Pastel on board.

Late afternoon on the Dalmatian Coast and shadows begin to fall over the clustered red roofs of medieval Dubrovnik. Pastel

A traditional Parisian bookstore with striped awning and welcoming open door. Pastel on board.

Nightfall, a cold evening in Amsterdam and perhaps this question is posed, "and what lies ahead?" Pastel on board.

Dusk comes early in late fall and the canals come alive with glowing yellow light against purple sky and water. Pastel on board.

Scenes of village life were popular subjects in 17th century Flemish art. I've combined this peaceful view with swans which are powerful mythological symbols representing grace, balance, creation and growth. Pastel on board.

The quiet and peaceful "Princely Beguinage of the Vineyard" was founded in 1245. Nowadays it is inhabited by sisters of the monastic order of St. Benedict. Beautiful architecture with small houses and church all enclosed in a tranquil setting of walled garden-courtyard with a circular path to stroll around. Pastel on board.

These buildings dating from 1608 line the picturesque canals of Bruges.
Pastel on board

Once a powerful center of trade, now silence and shadows inhabit this medieval city of canals in Belgium.
Pastel on La Carte stock
Available at Davis and Company Fine Art, Spring, TX

A quiet scene along the Seine in the heart of Paris. It's late autumn, the leaves are changing and the days are short.
Pastel on board.
Available at Davis and Company Fine Art, Spring, TX

Terracotta, vines, geraniums and balusters on a balcony looking over Renaissance rooftops in the Tuscan countryside. Pastel on board.

The Santa Clara Pueblo on the high desert plain in New Mexico. This adobe home bakes in the crucible of sun and afternoon heat.

Abandoned adobe buildings on the Santa Clara pueblo. Elemental earth colors of the vast Southwest high desert with just a touch of turquoise.

Between the sea and the moor this stone church sits like a lonely sentinel under a moody, roiling sky.
Pastel on board.

A country lane and strong sunlight on a stone barn in the Scottish Highlands make a typical scene come alive with warm and cool contrasting colors. Pastel on board.

On the Isle of Skye, a great, green, rolling landscape of
hills, meadows and ocean. Dramatic skylight gives this painting a luminous quality. Pastel on board

Marfa, still 1950's small town Texas, but also the site of major art installations by minimalist sculptors Donald Judd and Dan Flavin. Pastel on board.

Serene, mystical and like a piece of abstract sculpture.
These are the qualities I've tried to portray in this painting of the ruins at Tumacacori Mission.
Pastel on board.

Settled by Jesuits at Tubac, Arizona in 1751, the Tumacacori mission has had a turbulent history. The church still stands but the remaining outer building sits on the land like a piece of broken sculpture.

Number two in a Texas suite of paintings. Strong texture, deeply stroked, almost graffiti-like. A simple, bold structure on a hard land.

The first in a suite of Texas paintings. This painting is about convergences; road, sky and striated rock all
converging on an unknown destination.

A symbolic landscape with bold colors and gestural painting. This large slave cabin is on the grounds of the Andrew Jackson home in Nashville.

On a high road looking down at Loch Hourn this vista
emerged through the rain as heavy clouds lifted.

A quiet village on Penobscot Bay and my favorite time of day; early sunset light which enhances the warmth and strength of the old boats and garage.

A heavy mist over the loch on the Isle of Skye and colors become saturated and deepened lending
atmosphere to the scene.

A traditional Maine farmhouse with attached barn. Strong sunlight and shadows define its strength and
angular forms.

A sturdy farmhouse, once home to a family, now sits quiet and empty at the top of a grassy meadow leading down to an inlet.

A Scottish church, its simple, clean lines in perfect harmony with the vast green moor.

On Campobello Island, the summer retreat of FDR, just off the coast of Maine, the wild lupine grows in meadows. The magenta lupine glows softly in the typical island mist and fog.

In the Maine fishing village of Lubec, the processing of herring provided livelihood for so many, many townspeople. The herring are gone but the plant floats dreamlike over the harbor.

Deeply saturated and glowing colors on a rainy morning near Portree.

Walking the Roosevelt estate at Hyde Park I came across this magnificent maple, alone and majestic.

Strolling a country road one comes across a solid and imposing barn, its forms accented by the strong setting sun and shadow.

A fog bank rolls over Penobscot Bay on the coast of Maine as the setting sun lights the sky pink, yellow and orange.

In the tiny village of Milovaig, on the edge of Loch Pooltiel sits this spare and lonely crofters (farmers) cottage.

Cool greens and pink dominate this pastel cityscape of spring light in Edinburgh.

Varanasi is a Hindu holy city and the Ganges is a sacred river. As evening descends and the riverbank comes alive the light takes on a magical purple glow.

Pastel

Pastel

Pastel

Pastel

Pastel

Morning sunlight warms a barn and cottage on Maine's rocky edge.
Pastel.

Planting rice in the south of India. Pastel

Wind and snow whipping across the Potomac. Pastel

A fence in harmony with the land.
Pastel.

The Pacific ocean, foaming and surging along Rt 1 on the California coast.

Penobscot Bay, the coast of Maine. Pastel

The California beach near the border with Oregon. Pastel

On the California coast. Pastel

The coastal edge of Maine

Winter along the Potomac. Pastel