32 WWW.SOUTHWESTART.COM • AUGUST 2019
trays a mountain peak known locally
astheSleepingIndian,socalledforits
resemblancetoa NativeAmericanman
lyingonhisback.Theartist observed
thesweepingwintersceneduringa vis-
ittothearealastMarch.“Icouldsee
moreelkthanI have seenina fieldat
onetimeinmylifetime,”hesays.“It
wastherighttime ofeveningandthe
righttimeofyear.That’showa lotofmy
paintingscomeabout—it’sserendipity.
Youjustgetoutthereandstartexplor-
ingandseewhat’swonderful.”
Moore views each of his landscape
paintingslikea vintagewine;eachwork
capturesnotjusta specific placehehas
visited, but also thecharacteristics of
thatplaceduringa particularday,sea-
son, and year. In his show, adds thefeathered muses. His welded sculptures
are harmonious in form, with clean,
fl owing lines and symmetrical patterns.
But in a relatively new series he calls
Uncut, the artist has added another
stylistic approach to his oeuvre. “Usu-
ally I’m going over a piece meticulously
with sanders, grinders, and hand fi les,”
Rambadt explains. “These particular
sculptures are very raw and untouched.
The only tool I use is the welder.”
The resulting works display coarse
textures, rough edges, and even
scratches. “There’s a wildness to them
that I enjoy,” the artist says. “I’ve been
working in this really refi ned fashion,
where everything has to be just per-
fect, but the Uncut series is forcing me
to step back and see the beauty in the
material that’s already there, instead
of imposing my own vision of beauty.”
Rambadt, an av id fl y fi sherman, has also
been depicting fi sh in his work “to rep-
resent that part of my life,” he says.
Parker, CO, artist Jay Moore—the gal-
lery’s “premier landscape painter,” says
Fulton—brings 10 new oil paintings to
his solo show, including a Southwest-
ern scene and multiple Rocky Moun-
tain landscapes, some of which con-
tain wildlife. “One painting I’ll call the
showpiece is a remarkable 40-by-60-
inch oil of the National Elk Refuge here
in Jackson Hole,” says Fulton. “There
must be 100 elk in this painting.”
In the distant background of Moore’s
tour de force, entitled AT HOME BE-
NEATH THE SLEEPING INDIAN, he por-cJay Moore, At Home Beneath the Sleeping Indian, oil, 40 x 60.
fDon Rambadt, Western Bluebird, welded bronze/copper, 25 x 6 x 7.