Permanent

Glow

Ending

Writing

Camping

We Forget We Don't Know Where We Are

Whatever Is Is

Yellow Rectangle

Accentuate The Positive

Without Pausing to Consider

Incarceration

Heating With Wood

Taking Everything into Account

The End

Darlings

How To Feel

Through

Wilderness

Replay

Lucretius

Here, Fearey engages with his grandmother who corresponded with her mother in the early 1900s. Through the works in this "History Watercolors" series he exemplifies how he gravitates to time-travel, which can be induced by standing next to a redwood or sitting quietly below deck in a 19th Century whaling vessel.

  

Fabre Line

August 21 1909

Here, Fearey engages with his grandmother who corresponded with her mother in the early 1900s. Through the works in this "History Watercolors" series he exemplifies how he gravitates to time-travel, which can be induced by standing next to a redwood or sitting quietly below deck in a 19th Century whaling vessel.

July 13 1912, Fleischer's Hotel, Norway

October 14 1906

October 12 1906

Hotel de la Tamise

Duestches Reich

June 26 1913

Hotel Belle Ile, Cadenabbia

Streit's Hotel 2

Streit's Hotel

St. Moritz

Mountains

1914 Europe 

Washington

This is What I See

Valley - the People are so Poor

Annie Will Be Intersted When She Sees the Stamp

We Arrived Here Yesterday from Lugano

We Returned Last Evening to Hamburg

Instead of a Longer Easier Way

Enclosed In Red Walls

To Tell You as I Have

Hildesheim

Monday Afternoon

It Was a Bright and Shiny Day

Are Pine Trees Planted In Masses of Big Squares

To Be Heard

I Have Eaten The Plums

Things Go Awry

Like Fruit (Darker)

6 Eggs

9 Eggs

3 or 4

Black Egg

From Fearey's "Botanical" series, this is a work that is an interaction. From the base of a sheaf of botanical prints collected by the artists mother during her life, to the free form watercolor paintings later created to engage with the information present.

It’s an example of treating a background surface, as an arena to operate in.

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Gordon Fearey