These paintings all come out of one trip to Puerto Vallarta, Jalisco, Mexico in the late 1990s. Here they are on a Flickr map.
My Puerta Vallarta paintings geotagged
My Haida Gwaii paintings geotagged
These paintings are from trips to Alaska and Haida Gwaii (“home of the Haida”), formerly called the Queen Charlotte Islands 2009. Yakoun Lake is located on Graham Island. Here’s a Flickr map showing the locations of these paintings.
Anatomy of a screen print: Alders
To produce this 1993 limited edition screen print based on my painting of the same name, I layered 30 colours of lacquer ink on paper. With preparation and drying time every colour represents a day, so it took 30 days to produce the total run of 100 prints.
About the Artist
Kent Crawford was born in 1956 in British Columbia. After a youth spent in Vancouver and at Long Beach on Vancouver Island, he studied fine art at the University of California at Irvine and industrial design at Western Washington University.
For the last twenty years, Crawford’s paintings and screen prints have reflected his experience of the West Coast wilderness as a spiritual retreat from the disorder of human physical life. It is the source of his mystical insights into the nature of nature.
As a hiker, and tree planter, the artist is familiar with many terrains and discovers in them all an immutability that anchors his soul and a variety that excites his mind and senses.
Who has not marveled at the diamonds glinting on the surface of a still pond or been transfixed by eddy that swirls perpetually around a river rock? But few have found ways to capture the eternal while revealing the flux.
Crawford’s images of mountains, lakes, rivers, clear cuts and salmon spawns are not photographic nor are they post- impressionist interpretations of what the eye perceives. Rather, his rendition of any moment in nature seeks to distill the rhythms and patterns which are constant through change—the order that’s the epicentre of chaos.
From a distance, most of his works have the clarity of high realism, but, up close, the recognizable aspects dissolve into an array of thousands of exquisitely wrought, abstract colored marks which manage to convey a sense of the explosion that generated all things in the world.
These meaningful particles (whether painted or painstakingly screen printed) flock over the quietude like excited birds enlivening the mystical core that is central to the spirituality of each piece.
Ann Rosenberg Freelance critic/curator
