I promised to provide updates to this blog as I worked in my Portland, Oregon, studio on the Arizona Petrified Forest National Park Paintings. I am in the process of moving this WordPress.com blog, pages and posts, to my website, but until that process is completed and ready for public consumption, I thought I would continue here.
The following paintings are mostly finished. At the moment I seem to have 17 acceptable paintings which I am moving around into various groupings to see what works best. Here are the 17, in alphabetical order.
This is one of the two structures in the park made from the petrified wood that litters the landscape (most of the Puebloan buildings are constructed out of sandstone, not petrified wood). It was “restored” in the 1930’s by the Civilian Conservation Corps and is not considered an authentic artifact. The original dated to the 1250’s and was built by Puebloan peoples, part of the language group that Mesa Verdi and Chaco Canyon National Parks feature. I was fascinated by the grasses, the petrified logs along the path, and the structure, high on the hill.
The Bidahochi and Chinle Formations, 24″ x 12″, oil on masonite, 2010. This is the big geological unconformity in the park, where the volcanic Bidahochi, 10 million years old, meets the Chinle, 225 million years old.
The hoodoos are weird wind-and-water eroded features. In the Petrified Forest, they are often blue-gray, but when the waning sun hits them, they turn golden. The Blue Mesa trail is one of the best in the Park. This painting is an unconformity all its own, having a style very unlike most of the work I did at PEFO. It resembles most closely paintings I made in Death Valley, up some of the side canyons, where the features are sculpted and golden.
One of the pull-out points where the Painted Desert is the predominate item of interest. Here the clouds caught me in their spell; the badlands faded beneath the skies. This view was recommended to me by a park service staff member, but the time of day she recommended painting it surprised me with its colors.
The Long Logs Trail was once a macadam road, although that doesn’t show here (I have photos and think sometimes of painting that unconformity). I suspect the road was turned into a walking trail not long ago because as a roadside attraction, the innumerable petrified logs were tempting for poachers. Vehicle passage near them made poaching easier. This is just a guess. But the trail is a delight because it is not close to the current highway. And the lushness of the area around the littering logs was fun to paint.
Sometimes the visitors don’t really want a drive through the park. The main visitor’s center is just off Interstate 40 and can be entered without going into the park.The plaza that the Center and a gift shop/cafe that surround it have charming bits of petrified wood, including one 20-some foot log. The Visitor’s Center Building, across the Plaza from the log still life, is pictured below.
The Visitor’s Center’s main doors are at the end of a long wall, facing the parking lot. Beyond the doors is the open entrance to the Plaza, and the petrified wood displays face the incoming traffic. At the far end, the plaza has a pond and artworks and is open to an artificial but pleasant desert hillock that hides the employees quarters. The cafe and gift shop run along the other edge, stopping short of the welcoming entrance. This view looks at the windows of the Center which face the Plaza, opening up the small interior to give it a sense of the Arizona sky and foliage. I painted it just as dusk was coming on.
The PDI, as everyone referred to it, is an historic structure, built over an older structure by the CCC guys and decorated by a well-known designer of Spanish Revival style Park buildings. These spanish revival buildings and decor can be seen in many places around the southwest. The PDI was almost torn down in the 1970’s but was saved.
The PDI sits on a bluff overlooking the badlands of the Chinle Formation. I got fascinated with the challenge of painting adobe (or in this case, faux adobe.) The building has, I think, at least 10 levels of roof, each of which is a subtly different color of rose-pink.
Inside the PDI is a covered porch that protects a bit against the wind and rain that can gust through the park. Through its adobe openings, the Chinle and Bidahochi formations are presented, against a wide wide sky. Painting within the protected porch while gazing outward was magical.
The badlands of the Chinle formation.
Another view of the badlands, with the washes, which were important as roads, depicted. In both these paintings, Pilot Rock stands, as it stood for explorers, as a way to take one’s bearings.
We were at the Petrified Forest in an exceptionally lush year for foliage. This scene was painted right next to the Puerco Ruins, which sit on a hill above the Puerco River. We saw water running in the river several times during our stay.
The ruins here date to about 1250 AD, and like those elsewhere in the southwest such as Mesa Verde and Chaco Canyon are from a Puebloan people who left the area for reasons that are unclear. Current Pueblo people say these are ancient habitations of their ancestors. The Navajo who are now more prevalent in the area arrived some hundreds of years later and spoke a different language than the Puebloans.
The Petrified Forest Park is full of unconformities, but the one that stands out, both in the painting and at the park is this reconstructed old car, placed prominently on a pull-out where Interstate 40 roars by.
PDI takes on its proper place in the area when viewed Tawa Point. It blends into the landscape and reveals the true small nature of its historic status.
The Teepee painting has a couple of funny stories attached, but for my purposes here, it’s another of the badland features of the park, less complex than the Painted Desert, but fascinating in its stature.
These paintings will be grouped for exhibit. That’s the process I am currently working on in the studio — that and painting the 1/8 inch edges of each, as well as planning for their mounting, floated, so they can be readily hung. — June