Tuck Fauntleroy: All Series

TUCK FAUNTLEROY

TUCK FAUNTLEROY

ALL WORKS: 2008-2022

TAYLOE PIGGOTT GALLERY

CONTENTS Introduction......................................................................................................................................................................................4 Waterline............................................................................................................................................................................................7 Elements....................................................................................................................... ..................................................................47 Snake River....................................................................................................................................................................................81 Winter Stock.................................................................................................................................................................................93 Burn........................................................................................................................... ....................................................................105 Edition List..................................................................................................................................................................................133

AN INTRODUCTION TO TUCK FAUNTLEROY

Tuck Fauntleroy’s artistic practice focuses on the vast, mild areas of the American West. Inspired by the natural environment of the small waterfront town where he was raised, Fauntleroy’s artistic practice largely focuses on the medium of water and its expansive relationships. Utilizing rivers and lakes as the subject matter, strong visual lines are accentuated by the snow-covered earth and a striking aerial perspective. Fauntleroy visually displaces the viewer, pushing the boundaries of realism and abstraction while creating dynamic compositions of positive and negative space.

moment. With Winter Stock (released in 2020), Fauntleroy took a different approach, capturing cattle from the ground at local ranches during the desolate western winters. Burn (released in 2022) is a mixture of aerial and ground shots of the regions of Yellowstone and Grand Teton National Parks that have been drastically altered by wildfires over the past four decades. The stark contrast of charred, disfigured trees against soft, untouched snow and serene waters makes for photos that are as peaceful as they are compelling. The silence of these remote, charred spaces is palpable in these works.

For the creation of his Waterline (released in 2018), Snake River series (released in 2019), and Elements series (released in 2020), Fauntleroy spent a decade taking flight over Wyoming to capture bodies of water at a critical moment of change. Fauntleroy captures the colossal beauty realized as autumn is engulfed by winter, and winter gives way to spring at a single capricious

Fauntleroy’s photographic approach emphasizes simplicity and stability. His overarching artistic vision conveys his deep intentionality of photographing landscapes devoid of human interruption. Noting the transitional progressions in these remote locations, Fauntleroy expresses a profoundly human desire to capture and chase the ephemerality of seasons and time.

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His keen sense of composition and scrupulous play between negative and positive space lends to challenge our perception of these well-known environs in an original presentation that hovers between the recognizable and the sublime. Each image engulfs the viewer into a mysterious environment- one that seems familiar yet out of reach. Standing in front of these large photographs one becomes lost in a visual journey rendered almost painterly in one frame and conjuring minimalist constructivism in the next.

as The New York Times, The Washington Post, Dwell, Conde Nast Traveler, and Town & Country, Fauntleroy’s fine arts photography is committed to utilizing the aesthetics of the natural world.

Tuck Fauntleroy lives and works in Jackson Hole, Wyoming.

Tuck Fauntleroy grew up in a small waterfront town on the eastern shore of Maryland. He graduated with a B.A. from Bucknell University in 2000 and moved west to Jackson Hole. Combined with his personal photographic practice, Fauntleroy developed a professional foundation as a photographer in the fields of architecture and interior design over the past 20 years. Published in recognized outlets such

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WATERLINE (2008-2017)

WATERLINE I , 2008-2017

Archival pigment print

Editions and sizing variable

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WATERLINE II , 2008-2017

Archival pigment print

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WATERLINE III , 2008-2017

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WATERLINE IV , 2008-2017

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WATERLINE V , 2008-2017

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WATERLINE VI , 2008-2017

Archival pigment print

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WATERLINE VII , 2008-2017

Archival pigment print

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WATERLINE VIII , 2008-2017

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WATERLINE IX , 2008-2017

Archival pigment print

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WATERLINE X , 2008-2017

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WATERLINE XI , 2008-2017

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WATERLINE XII , 2008-2017

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WATERLINE XIII , 2008-2017

Archival pigment print

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WATERLINE XIV , 2008-2017

Archival pigment print

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WATERLINE EDITIONS

Edition of 12 | 20 × 30 inches

Edition of 10 | 26 1/2 × 40 inches

Edition of 8 | 40 × 60 inches

Edition of 3 | 53 1/2 × 80 inches

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ELEMENTS (2017-2019)

ELEMENTS

Elements showcases visually arresting, abstract compositions of seasonal change in Grand Teton and Yellowstone National Parks. Focused on ice as it forms on local bodies of water during bitter cold autumn nights, Elements challenges our perception of these well-known environs in an original presentation that hovers between the recognizable and the sublime.

Remaining true to his distinctive aesthetic, Fauntleroy’s new series visually displaces the viewer in a similar way to his previous Waterline series (released in 2018). Akin to Waterline , Fauntleroy’s Elements series highlights the artist’s careful play between negative and positive space, yet this time focuses on the captivating event of ice forming.

Three years in the making, Fauntleroy has spent his time chasing this capricious moment and the colossal beauty realized as water changes from a liquid to a solid-state as winter approaches

in autumn. Fauntleroy’s fascination with how color is absorbed and reflected by water in its various states, lead him to pursue this new body of work. The result is astonishing. Depicting the raw color variations found in the natural palette of water, Elements amazes the viewer by revealing colors found in nature that one is rarely exposed to. Each image engulfs the viewer into a mysterious environment- one that seems familiar yet out of reach. Standing in front of these large photographs one becomes lost in a visual journey rendered almost painterly in one frame and conjuring minimalist constructivism or organic patterns viewed through a microscope in the next. Both art and architecture, science and nature, Fauntleroy’s work pauses the active molecules in water and allows us to reflect on the true shape, color, and form of water.

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ELEMENTS I , 2017-2019

Archival pigment print

Editions and sizing variable

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ELEMENTS II , 2017-2019

Archival pigment print

Editions and sizing variable

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ELEMENTS III , 2017-2019

Archival pigment print

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ELEMENTS IV , 2017-2019

Archival pigment print

Editions and sizing variable

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ELEMENTS V , 2017-2019

Archival pigment print

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ELEMENTS VI , 2017-2019

Archival pigment print

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ELEMENTS VII , 2017-2019

Archival pigment print

Editions and sizing variable

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ELEMENTS VIII , 2017-2019

Archival pigment print

Editions and sizing variable

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ELEMENTS IX , 2017-2019

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ELEMENTS X , 2017-2019

Archival pigment print

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ELEMENTS XI , 2017-2019

Archival pigment print

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ELEMENTS EDITIONS

Edition of 7 | 20 x 30 inches

Edition of 7 | 26 1/2 x 40 inches

Edition of 5 | 40 x 60 inches

Edition of 3 | 50 x 75 inches

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SNAKE RIVER (2019)

SNAKE RIVER I , 2019

Archival pigment print

Editions and sizing variable

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SNAKE RIVER II , 2019

Archival pigment print

Editions and sizing variable

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SNAKE RIVER III , 2019

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SNAKE RIVER IV , 2019

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SNAKE RIVER V , 2019

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SNAKE RIVER EDITIONS

Edition of 12 | 20 x 30 inches

Edition of 10 | 26 1/2 x 40 inches

Edition of 8 | 40 x 60 inches

Edition of 3 | 50 x 75 inches

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WINTER STOCK (2011-2020)

WINTER STOCK I , 2011-2020

Archival pigment print

Editions and sizing variable

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WINTER STOCK II , 2011-2020

Archival pigment print

Editions and sizing variable

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WINTER STOCK III , 2011-2020

Archival pigment print

Editions and sizing variable

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WINTER STOCK IV , 2011-2020

Archival pigment print

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WINTER STOCK EDITIONS

Edition of 15 | 20 x 30 inches

Edition of 12 | 26 1/2 40 inches

Edition of 10 | 40 x 60 inches

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BURN (2020-2022)

BURN

Burn , released in 2022, gives way some sense of seasonal change like Fauntelroy's previous series but focuses on the wildfire burn regions in Yellowstone and Grand Teton National Parks. Burn similarly showcases the artist’s scrupulous ability to play between negative and positive space, yet this time, Fauntleroy concentrates on the elegant lines and forms created by a landscape scarred by flame.

Taken over the course of three winters, the series is a mixture of aerial and ground shots of the regions of Yellowstone and Grand Teton National Parks that have been drastically changed by wildfires over the past four decades. As with his previous work, Fauntleroy took many of the photos from the open windows of single-engine planes he chartered to fly over the areas, while other shots were taken by hiking into remote areas of the parks in different phases of the harsh Wyoming winters. Though edited into grayscale, Fauntleroy remarks that, in person, these landscapes are essentially

black and white, with everything hidden under the thick, white veil of snow but the burnt timber. The stark contrast of charred, disfigured trees against soft, untouched snow or serene waters makes for photos that are as peaceful as they are compelling. In Burn , the silence of these remote, charred spaces is palpable.

Burn is timely in the face of the proliferation of recent fires across the western United States and globally. The massive 1988 Yellowstone fires were a wake-up call, foreshadowing the future climate catastrophes that have recently become the norm. Regions affected by these 1988 wildfires remain scarred and are depicted in the series, as well as abutting areas also altered by the numerous fires that have since followed. Warming, drought, and the resulting fires have never been more of a threat, and it is impossible to separate the beauty of these images from the destruction they were born of. Although much of Fauntleroy’s previous works embrace undercurrents of

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environmentalism, Burn embraces more directly to the issues affecting Fauntleroy’s backyard, and slowly but surely our world, than his previous work. “This body of work is definitely more head on in looking at and making one think more about what is happening. Some of these places are from the 1988 unbelievable Yellowstone fires, and the reality is that event was a very real, canary in the coal mine for what the future hold with lack of forest management, destructional fires, and global warming. The point is that this work really speaks authentically to that issue.” Despite these underlying themes that Fauntleroy admits can be depressing, Burn still captures both the beauty and hope in the unspoken regeneration of the life affected by fire. Ecological succession, the pattern and process of recovery after a wildfire, begins with the rapid growth fragile wildflowers and, later grasses and pioneer trees which, in Burn, are hidden by snow but inherently present. These wildfires essentially hit the reset button on the environments they tear through, but implicit in

that process is growth.

Critical to the series is the notion of taking something more widely perceived as unsightly and destructive and making it aesthetic and engaging.

“I like to think of the winter season as a time for the land itself to rest. Zero human activity, the silence of falling snow in one of the most remote places on earth is enchanting and reflective. In that space, there's hope of discovering a healing element that a landscape at rest is pristine and peaceful - it inspires promise.” Despite the implicit chaos that created this landscape, Fauntleroy’s artful documentation, paired with his keen sense of space, lends to create images that edge on abstraction and even impressionism through the presentation of very real areas of our National Parks that have been touched by flame. By defamiliarizing the familiar, Fauntleroy is able to create a beguiling series of images that are, above all, meditative, invoking pure serenity in the face of arrant desolation.

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