An ongoing series of paintings developed from Nelson's photographs of geological formations in Monument Valley, Picacho Peak, the Aeolian Islands, Careyes, and other locations. Early experiments with heavy acrylic gave way to poured, soaked, and physically manipulated paint on raw or backed linen, allowing surface tension and absorption to become active compositional forces. The rocks are not treated simply as landscape subjects. They act as characters, thresholds, and seemingly animate presences, objects that remain mute yet suggest an interior life. The series marks a return to sustained painting after years dominated by collaborative and architectural work.
Fungo di Pietra, 2025Acrylic on linen74 × 59 in (188 × 150 cm)Anza Borrego, 2021Acrylic on linen84 × 60 in (213 × 152 cm)El Morro, 2021Acrylic on linen48 × 108 in (122 × 274 cm)Joshua Boulders, 2020acrylic on linen36 × 72 in (91 × 183 cm)Agathla Peak, 2020acrylic on hemp68 × 90 in (173 × 229 cm)Careyes Night, 2020acrylic on hemp60 × 216 in (152 × 549 cm)Careyes Day, 2020acrylic on hemp60 × 216 in (152 × 549 cm)Troncones, 2019Acrylic on hemp68 × 90 in (173 × 229 cm)Aeolian Chunk, 2019acrylic on hemp68 × 90 in (173 × 229 cm)Aeolian Spire, 2019acrylic on hemp54 × 24 in (137 × 61 cm)Aeolian Castle, 2019acrylic on hemp90 × 68 in (229 × 173 cm)Picacho Haze, 2019acrylic on hemp32 × 24 in (81 × 61 cm)Picacho Clear, 2019acrylic on hemp90 × 68 in (229 × 173 cm)Monument Valley, 2017acrylic + oil + coffee on hemp96 × 216 in (244 × 549 cm)Sun, 2016acrylic on linen72 × 48 in (183 × 122 cm)