Willowtail Springs Residency

I have spent the last 13 days in southwest Colorado, near Mancos, at Willowtail Springs – a charming, eclectic, idiosyncratic set of high-end cabins near the La Plata Mountains and Mesa Verde, founded by Lee and Peggy Melyssa Cloy. Their off-the-beaten-path venue is both a commercial B&B (with fresh eggs and wonderful bread!) and an artist retreat with an avowed goal of “integrating the arts and sciences.”

On the journey here, I found myself “time traveling:” when I crested high passes it was almost winter but, depending on its elevation, descent to the next valley brought me backward in time to anywhere from late summer to early fall to solidly autumn. I saw aspen, cottonwoods, willows, tamarisks and oak thickets still in full color and ones now bare to the last leaf.

For this time of year I brought clothes for both heat and snow. For example, I’ve got four tiers of long underwear – extra light, light, medium heavy and heavy. Ditto pile sweaters, gloves and rain gear. Most of the time, no foul-weather gear needed – but the last two days I’ve worn the medium heavyweight as snow is only a thousand feet above us.

In the higher places especially I saw inescapable evidence of our warming climate: complete beetle kill on the Continental Divide at Wolf Creek Pass (linked article is over a year old; I saw not a single living tree at the same location). Hiking in the La Platas offered vistas of rock glaciers and old lateral and terminal moraines, glacier-smoothed and grooved roches moutonnees, but of course, no glaciers.

My stints in other places almost always follow a pattern: I wander around getting to know a place by painting its landscapes. Once I’ve exorcised “the pretty stuff,” I can begin to focus on the underlying issues and meanings. This visit is no exception—though with an initial week’s vacation hiking spent around southeast Utah on the way here, it’s taken me even longer to settle down.

I had another goal of a “from-life”-painting-a-day, practicing for the Zion Plein Air Invitational. This wall shows my progress:

Watercolor paintings by Suze Woolf near Mancos Colorado
Snapshot of my painting-a-day at Willowtail – the good, the bad and the so-so.
Top Row, left to right: The Pond 1; The Pond 2; Upended truck bed (“Marfa North”); Kiva at Balcony House, Mesa Verde; Hesperus mountain from the Sharktooth trail. Row 2: Below the Pond; Pond 3; Far View Doorways, Mesa Verde;
Sleeping Ute Mountain from Park Point; The Pond in the Rain.
Row 3: The Hill; Prater Ridge Rim; Balcony House, Mesa Verde;
Shiprock from Park Point

With bad weather, I had enough studio time to almost complete another burned tree: untitled yet, this totem (as wildland firefighters call the still-standing carved trunks) is from the 2015 Reynolds Creek Fire in Glacier National Park.

Suze Woolf watercolor painting of a burned tree
Untitled, Watercolor on torn paper, 52″H by 11.5″W

I have had wonderful interactions with Lee and Peggy, visitors, donors and avid arts-interested people in the area. It was deeply gratifying to hear that my burned tree paintings and my rock-bound artist books inspire them, and I’m looking forward to more exchanges in the future. Willowtail residents will be the focus of an exhibit at the lively Durango Arts Center in 2017.

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I am deeply grateful to the Winifred Johnson Clive Foundation for partial support of my residency at Willowtail Springs.

 

A Thrilling Installation: Twelve Burned Tree Portraits Suspended in the Air

This fall I had the opportunity to participate in the Museum of Northwest Art’s annual Surge event in La Conner, Washington State. It’s a brief exhibit intended to inform and provoke, especially residents of the low-lying Skagit River delta area. They’ve expanded their purview to include less proximal causes of coastal flooding to the broader impacts of climate change, such as melting glaciers and forest fires.

I turned in a number of proposals, some of which I will likely pursue in the future, but the one the curators most wanted to see was an installation of multiple burned tree paintings.

I thought this would be easy since all but one of the pieces already existed. (I promised to try to complete a burned tree from the Skagit watershed in time for the exhibit. The painting below came from a tree I saw near Newhalem. Last year’s Goodell Creek fire touched down right next to this small town on the west side of the North Cascades.)

Suze Woolf watercolor painting of burned tree

Goodell Fire Instance, varnished watercolor on torn paper, 52″H x 16″W

Easy, hah! Some of the works were in frames. Some were already mounted on shaped black foam core, but the backs had been used for wall hanging and had bumpers, hanging wires, and tags that needed to be removed. I chose to re-cover the backs of these with black paper. And of course the ones that were in frames needed to be taken out and new shaped foam core backings jigsaw-cut for them. And I needed to come up with a way to suspend them from the ceiling that would last throughout the exhibit.

I made a number of tests of different coatings, papers, hanging hardware and lay outs before settling on my final method. I had been reading the David McCulloch biography of the Wright Brothers, and while I cannot claim that level of invention, I was amused by how similar our processes are: theorize, plan, observe, model, build, crash, tweak again and repeat, repeat, repeat…

Photo of mockup for Suze Woolf Surge installation

Backs of 7.5″ high prints of burned tree paintings, pasted onto 1/8th inch foam core. Wires into the bases allowed me to stick them into a foam base and move them around until I was satisfied with the layout.

Every remounting and each piece of foam core required two coats of adhesive. I had to give up varnishing the foam core because it too often warped it. I tried a variety of hanging hardware. Once I began the process I realized there was no way I could complete this in time on my own.

Thanks to friends, neighbors, fellow artists and Kelly’s Lyles’ artist list, they were finished in time. It was stressful having other people working in my small space. But I met some wonderful folks – thanks especially to Arisa Brown and Rosie Peterson who spent more time than anyone besides me. Working with other artists gives you confidence in your vision!

I could calculate the footprint from my model — which was trebly useful when we arrived to find we’d been assigned a triangular space instead of a rectangular one. But I could work out the new arrangement on the model before we started measuring and hanging.

Photo of Suze Woolf installation model

Front of installation mockup, reworked for triangular footprint

After that, leaning the paintings (still in their protective surrounds) up against office chairs allowed us to fine tune the spacing before committing to ceiling hooks.

Photo of beginning of Suze Woolf Surge installation

The twelve trees still wrapped in their protective foam core surrounds, which allows them to be transported and rearranged without damaging fragile edges.

That the trees came from all over the American West and one of them local makes them even more thought-provoking. One of the effects I was after was indeed realized: when you walk through a burned forest it seems as if the trunks closest to you are stationary, but those seen through the gaps between them seem to move as you do.

The result was stunning and something I hope to do again.

Photo of Suze Woolf 2016 Surge installation

Museum of Northwest Art installation of twelve, varnished, watercolor-on-torn-paper paintings of charred trees, installed September 2016, each 52″ high by various widths