Instagram Story Save

T̳h̳e̳ ̳e̳t̳e̳r̳n̳a̳l̳ ̳q̳u̳e̳s̳t̳i̳o̳n̳—̳i̳s̳ ̳i̳t̳ ̳f̳i̳n̳i̳s̳h̳e̳d̳?̳

Painting while the world burns, respect to @springsteen for speaking truth to power in Manchester, saying, “They’re persecuting people for their right to free speech” as ourFΛKΣ auth0ritarian-aspiring “leader” threatened to investigate him.

Is this @andorofficial or the “land of the free?”

Chilling.

#landscape #landscapepainting

👕 @strikeanywhereofficial “nightmares of the west” indeed

.
Artist @greglindquist in his studio
Greenpoint NYC

.
Artist @greglindquist in his studio
Greenpoint NYC

.
Artist @greglindquist in his studio
Greenpoint NYC

.
Artist @greglindquist in his studio
Greenpoint NYC

.
Artist @greglindquist in his studio
Greenpoint NYC

I’m very honored that Cameron Art Museum has acquired How Could Hell Be Any Worse? (Red Aurora), 2024, 36 x 48 x 2 in., oil, metallic, and iridescent pigment on linen on panel, for the permanent collection.

This painting is part of a larger body of wildfire works that registers environmental disturbance as both image and atmosphere — smoke, particulate matter, and light shifting as it moves through the air. The layered pigments and interference surfaces are meant to fall apart up close and resolve at a distance, mirroring how these events can feel both immediate and diffuse.

It means a great deal to have this work enter the collection in Wilmington, where my relationship to landscape first began. I’m especially moved that the acquisition honors the memory of Georgeann Haas, my teacher and an early mentor, who was able to see the painting on the wall at CAM before her passing.

With gratitude to @camartmuseum. From Mountains to Sea remains on view through May 10.

Install photo by Bradley Pearce @phlustercluck

Full painting image by @gustavomurillophotography

I’m very honored that Cameron Art Museum has acquired How Could Hell Be Any Worse? (Red Aurora), 2024, 36 x 48 x 2 in., oil, metallic, and iridescent pigment on linen on panel, for the permanent collection.

This painting is part of a larger body of wildfire works that registers environmental disturbance as both image and atmosphere — smoke, particulate matter, and light shifting as it moves through the air. The layered pigments and interference surfaces are meant to fall apart up close and resolve at a distance, mirroring how these events can feel both immediate and diffuse.

It means a great deal to have this work enter the collection in Wilmington, where my relationship to landscape first began. I’m especially moved that the acquisition honors the memory of Georgeann Haas, my teacher and an early mentor, who was able to see the painting on the wall at CAM before her passing.

With gratitude to @camartmuseum. From Mountains to Sea remains on view through May 10.

Install photo by Bradley Pearce @phlustercluck

Full painting image by @gustavomurillophotography

I’m very honored that Cameron Art Museum has acquired How Could Hell Be Any Worse? (Red Aurora), 2024, 36 x 48 x 2 in., oil, metallic, and iridescent pigment on linen on panel, for the permanent collection.

This painting is part of a larger body of wildfire works that registers environmental disturbance as both image and atmosphere — smoke, particulate matter, and light shifting as it moves through the air. The layered pigments and interference surfaces are meant to fall apart up close and resolve at a distance, mirroring how these events can feel both immediate and diffuse.

It means a great deal to have this work enter the collection in Wilmington, where my relationship to landscape first began. I’m especially moved that the acquisition honors the memory of Georgeann Haas, my teacher and an early mentor, who was able to see the painting on the wall at CAM before her passing.

With gratitude to @camartmuseum. From Mountains to Sea remains on view through May 10.

Install photo by Bradley Pearce @phlustercluck

Full painting image by @gustavomurillophotography

I’m very honored that Cameron Art Museum has acquired How Could Hell Be Any Worse? (Red Aurora), 2024, 36 x 48 x 2 in., oil, metallic, and iridescent pigment on linen on panel, for the permanent collection.

This painting is part of a larger body of wildfire works that registers environmental disturbance as both image and atmosphere — smoke, particulate matter, and light shifting as it moves through the air. The layered pigments and interference surfaces are meant to fall apart up close and resolve at a distance, mirroring how these events can feel both immediate and diffuse.

It means a great deal to have this work enter the collection in Wilmington, where my relationship to landscape first began. I’m especially moved that the acquisition honors the memory of Georgeann Haas, my teacher and an early mentor, who was able to see the painting on the wall at CAM before her passing.

With gratitude to @camartmuseum. From Mountains to Sea remains on view through May 10.

Install photo by Bradley Pearce @phlustercluck

Full painting image by @gustavomurillophotography

I’m very honored that Cameron Art Museum has acquired How Could Hell Be Any Worse? (Red Aurora), 2024, 36 x 48 x 2 in., oil, metallic, and iridescent pigment on linen on panel, for the permanent collection.

This painting is part of a larger body of wildfire works that registers environmental disturbance as both image and atmosphere — smoke, particulate matter, and light shifting as it moves through the air. The layered pigments and interference surfaces are meant to fall apart up close and resolve at a distance, mirroring how these events can feel both immediate and diffuse.

It means a great deal to have this work enter the collection in Wilmington, where my relationship to landscape first began. I’m especially moved that the acquisition honors the memory of Georgeann Haas, my teacher and an early mentor, who was able to see the painting on the wall at CAM before her passing.

With gratitude to @camartmuseum. From Mountains to Sea remains on view through May 10.

Install photo by Bradley Pearce @phlustercluck

Full painting image by @gustavomurillophotography

From Lope Max Diaz’s painting class two decades ago, to a Brooklyn studio today.

Between these points in time lives a body of work that examines the evolving relationships between landscape, industry and environmental change.

On April 8, alumnus Greg Lindquist [Art + Design '03] returns to campus to share the trajectory of his practice, from early explorations of urban transformation to current work addressing climate-driven wildfires.

The event also marks the installation of his "Study for Newtown Creek Series" in the Harrye B. Lyons Design Library, adding his work to the college’s permanent collection.

🗓️ Wednesday, April 8
⏰ 5:30 p.m.
📍 50 Pullen Rd, Raleigh, NC 27607

Join us in Burns Auditorium for Lindquist's talk, followed by a reception in the Design Library, as we celebrate this full-circle milestone.

From Lope Max Diaz’s painting class two decades ago, to a Brooklyn studio today.

Between these points in time lives a body of work that examines the evolving relationships between landscape, industry and environmental change.

On April 8, alumnus Greg Lindquist [Art + Design '03] returns to campus to share the trajectory of his practice, from early explorations of urban transformation to current work addressing climate-driven wildfires.

The event also marks the installation of his "Study for Newtown Creek Series" in the Harrye B. Lyons Design Library, adding his work to the college’s permanent collection.

🗓️ Wednesday, April 8
⏰ 5:30 p.m.
📍 50 Pullen Rd, Raleigh, NC 27607

Join us in Burns Auditorium for Lindquist's talk, followed by a reception in the Design Library, as we celebrate this full-circle milestone.

From Lope Max Diaz’s painting class two decades ago, to a Brooklyn studio today.

Between these points in time lives a body of work that examines the evolving relationships between landscape, industry and environmental change.

On April 8, alumnus Greg Lindquist [Art + Design '03] returns to campus to share the trajectory of his practice, from early explorations of urban transformation to current work addressing climate-driven wildfires.

The event also marks the installation of his "Study for Newtown Creek Series" in the Harrye B. Lyons Design Library, adding his work to the college’s permanent collection.

🗓️ Wednesday, April 8
⏰ 5:30 p.m.
📍 50 Pullen Rd, Raleigh, NC 27607

Join us in Burns Auditorium for Lindquist's talk, followed by a reception in the Design Library, as we celebrate this full-circle milestone.

From Lope Max Diaz’s painting class two decades ago, to a Brooklyn studio today.

Between these points in time lives a body of work that examines the evolving relationships between landscape, industry and environmental change.

On April 8, alumnus Greg Lindquist [Art + Design '03] returns to campus to share the trajectory of his practice, from early explorations of urban transformation to current work addressing climate-driven wildfires.

The event also marks the installation of his "Study for Newtown Creek Series" in the Harrye B. Lyons Design Library, adding his work to the college’s permanent collection.

🗓️ Wednesday, April 8
⏰ 5:30 p.m.
📍 50 Pullen Rd, Raleigh, NC 27607

Join us in Burns Auditorium for Lindquist's talk, followed by a reception in the Design Library, as we celebrate this full-circle milestone.

From Lope Max Diaz’s painting class two decades ago, to a Brooklyn studio today.

Between these points in time lives a body of work that examines the evolving relationships between landscape, industry and environmental change.

On April 8, alumnus Greg Lindquist [Art + Design '03] returns to campus to share the trajectory of his practice, from early explorations of urban transformation to current work addressing climate-driven wildfires.

The event also marks the installation of his "Study for Newtown Creek Series" in the Harrye B. Lyons Design Library, adding his work to the college’s permanent collection.

🗓️ Wednesday, April 8
⏰ 5:30 p.m.
📍 50 Pullen Rd, Raleigh, NC 27607

Join us in Burns Auditorium for Lindquist's talk, followed by a reception in the Design Library, as we celebrate this full-circle milestone.

From Lope Max Diaz’s painting class two decades ago, to a Brooklyn studio today.

Between these points in time lives a body of work that examines the evolving relationships between landscape, industry and environmental change.

On April 8, alumnus Greg Lindquist [Art + Design '03] returns to campus to share the trajectory of his practice, from early explorations of urban transformation to current work addressing climate-driven wildfires.

The event also marks the installation of his "Study for Newtown Creek Series" in the Harrye B. Lyons Design Library, adding his work to the college’s permanent collection.

🗓️ Wednesday, April 8
⏰ 5:30 p.m.
📍 50 Pullen Rd, Raleigh, NC 27607

Join us in Burns Auditorium for Lindquist's talk, followed by a reception in the Design Library, as we celebrate this full-circle milestone.

From Lope Max Diaz’s painting class two decades ago, to a Brooklyn studio today.

Between these points in time lives a body of work that examines the evolving relationships between landscape, industry and environmental change.

On April 8, alumnus Greg Lindquist [Art + Design '03] returns to campus to share the trajectory of his practice, from early explorations of urban transformation to current work addressing climate-driven wildfires.

The event also marks the installation of his "Study for Newtown Creek Series" in the Harrye B. Lyons Design Library, adding his work to the college’s permanent collection.

🗓️ Wednesday, April 8
⏰ 5:30 p.m.
📍 50 Pullen Rd, Raleigh, NC 27607

Join us in Burns Auditorium for Lindquist's talk, followed by a reception in the Design Library, as we celebrate this full-circle milestone.

Looking forward to speaking at NC State College of Design next week in Raleigh.

Wednesday, April 8 at 5:30 PM
Burns Auditorium, Kamphoefner Hall

A reception will follow in the Design Library, where Lindquist’s Study for Newtown Creek Series will be newly installed and on view as part of the College of Design collection.

Thanks to the Department of Media Arts, Design and Technology for the invitation.

@ncstatedesign #raleigh #ncsu

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

My heart is broken, you left us too soon. Georgeann Haas (1953 - 2026) as my high school art teacher my senior year was a huge anchor for my choice to pursue a life in the arts, giving me a senior award for the visual arts and continuing to keep in touch over my development.

The last few years we grew closer with my renewed visits to my hometown Wilmington, and last fall when my paintings were included in an exhibition at the Cameron Art Museum where she has several works in the permanent collection.She also contributed a wonderful work on paper to the palladium/Athena project show.

We had wonderful conversations, we always ended laughing so hard until we were in tears. She cared about her students’ successes and was always circumspect of institutional bureacracy, she valued process over product, and experimentation. I was so glad for her to have gleefully met my son and she gave me the best relationship advice saying, “Doug and I have so much fun, we chase each other around with nerf guns and don’t take ourselves too seriously all the time.”

Our last conversation before she fell ill, she told me that our conversations about art inspired her to start working on her art again. That meant the world to hear.

A visitation will be held this Sunday, March 29th at 2:30 followed by a celebration of her life at 3:30 at the Cameron Museum of Art, 3201 S. 17th Street in Wilmington, NC. #georgeannhaas @camartmuseum @palladium.athena.project

When the Santa Ana Winds Rise
Oil and interference pigments on linen stretched over panel
47.75 × 27 × 2 inches
2026

Painted from imagery of the Santa Ana winds fanning the Pacific Palisades fires in 2025.

When the Santa Ana Winds Rise
Oil and interference pigments on linen stretched over panel
47.75 × 27 × 2 inches
2026

Painted from imagery of the Santa Ana winds fanning the Pacific Palisades fires in 2025.

When the Santa Ana Winds Rise
Oil and interference pigments on linen stretched over panel
47.75 × 27 × 2 inches
2026

Painted from imagery of the Santa Ana winds fanning the Pacific Palisades fires in 2025.

When the Santa Ana Winds Rise
Oil and interference pigments on linen stretched over panel
47.75 × 27 × 2 inches
2026

Painted from imagery of the Santa Ana winds fanning the Pacific Palisades fires in 2025.

When the Santa Ana Winds Rise
Oil and interference pigments on linen stretched over panel
47.75 × 27 × 2 inches
2026

Painted from imagery of the Santa Ana winds fanning the Pacific Palisades fires in 2025.

This painting shares its reference image with the cover of Firestorm.

Same fire. Different medium.

Journalism documents events. Painting slows atmosphere.

This piece isn’t on view, but it continues the questions raised in the wildfire works currently at the Cameron Art Museum: How does an atmospheric event become a surface?”

@jacobsoboroff @camartmuseum

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Puddle splasher (Kaia playing with great grandparents, July 1976), 2026
oil, metallic and iridescent pigments on linen stretched over panel, 20 by 20 by 1 inch. Using a variety of @guerrapaint metallics.

Always love doing special trades and commissions, thank you Phyllis for entrusting me to crystalize in a painting your memory.

The title was inspired by a band close to Kaia’s heart, the inimitable Cap’n Jazz, “You can’t look at the sky, without looking right through it”

—. @phyllisfischerlane @kaia_tf @capnjazzofficial

Recently, Wilmington sixth graders spent the day learning about ecosystems, making art, and then visited Cameron Art Museum to tour From Mountains to Sea.

I am grateful that the students particularly responded to my pieces in particular. Thank you to Rachel Jordon at CAM and photograph by James Farley / @jamestfarley

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Happy Valentine’s @theresadaddezio pictured in first slide at Nancy Holt’s Sun Tunnel during a visit in 2023.

Swipe for pictures over the years including one dining next to Harrison Ford in Jackson Hole.

Resisting the performance of love: Valentine’s Day began as martyrdom and seasonal ritual, became poetic romance in the medieval era, and now functions as a highly efficient apparatus of late-capitalist emotional management. (Solidifying romantic meaning, Geoffrey Chaucer linked St. Valentine’s Day to birds choosing their mates in his 1382 poem “Parliament of Birds.”)

Baby’s first big snow ❄️❄️🏂🌨️ Must be channeling an archetypal composition - @tessarrific says a Renaissance painting, @theresadaddezio a Pre-Raphaelite. Im thinking something like Impressionist.

What do you see?

(Realized too late could have made the roof into a huge igloo or mounds for sledding, next time.)