I recently completed a third visit to Willowtail Springs Nature Preserve near Mancos, Colorado. (See also Colorado-Utah-Colorado and Willowtail Springs Residency.) It was a very productive time for me: I was able to complete three of my individual portraits of burned trees in relatively few but long and intense days, compared to what it takes me at home.
The cedar on the right is the largest burned tree I’ve done yet; at its base it’s nearly as wide as it’s tall, and presents a raft of new storage and presentation problems to solve : – ).
I did a few hikes in the Lizard Head Wilderness with its first few inches of snow, and managed to start a few small landscapes from those hikes as well. I got together with my collaborator Lorena Willams, who wrote the stories that appear in the “State of the Forest” installation now on tour.
While there, I wrote this short essay on the value of their residency program:
What is the value of an artist residency to an artist?
It is the opportunity to think and work surrounded by peace and beauty — with very little distraction. Like any traveler, being in a new or less familiar place is refreshing and liberating; seeing new sights can literally change a point of view. For an artist, this can result in fixed ideas or long-term directions being altered or upended or in others a renewed commitment to a body of work.
For me, three visits to Willowtail have been primarily the latter. I have two bodies of work relevant to its southwest Colorado environment – an eleven-year series of large paintings of individual burned trees and a three-year series of artist books about bark beetles, using the wood and bark of their target trees as medium. Since these are preoccupations for much of the region, I found not only a personal welcome but professional interest in the work.
What is the impact of the residency on the artist and more widely?
Something I have experienced in every residency is some surprise I could not have predicted. Two years ago, Willowtail received a Winifred Johnson Clive Foundation grant to foster a collaboration. I was paired together with Durango author and wildland firefighter Lorena Williams, enriching and deepening the burned tree body of work. Her stories, together with my paintings, have resulted in several exhibitions not only in traditional art venues, like galleries and museums, but also in downtown storefronts and community centers.
Some 30 of these paintings have been digitally printed on three layers of fabric: a transparent, a solid and a black or black-plus-text layer with Lorena’s stories on half of them. This installation, called “State of the Forest,” is currently touring regional art and science museums around the U.S. and Canada for the next 2.5 years.
Why do you come back to Willowtail?
I’ve already mentioned peace and beauty. The quirky décor, living conscientiously on the land, and facilitation in the local art community are also appreciated. But more importantly, Peggy and Lee Cloy offer something unusual in the artist residency world: deep personal interest. In large programs an artist can feel a bit like a transfer student in an overcrowded high school. Here the sense of belief and support of the specific individual’s endeavor is appreciative, consistent and tangible.
 By my estimate, I am ~200-250% more productive than in my own studio.
 Plasteel Gallery, Seattle; Arnica Gallery, Kamloops BC; Lake Country Gallery, Vernon BC; US Botanical Museum, Washington DC; Museum of Northwest Art, La Conner WA; San Juan Islands Museum of Art, Friday Harbor, WA; Kirkland Arts Center, Kirkland WA; Green River College, WA; Seattle City Hall, WA and others.
 “Conversations through the Smoke” toured small towns in Idaho as part of a University of Idaho/US Forest Service community fire resiliency campaign. https://www.nrfirescience.org/event/conversations-through-smoke-traveling-art-exhibition
 The itinerary is here: https://www.davidjwagnerllc.com/Environmental_Impact-Sequel.html