TUCK FAUNTLEROY
TUCK FAUNTLEROY
MAYA FRODEMAN GALLERY
AN INTRODUCTION TO TUCK FAUNTLEROY
Tuck Fauntleroy’s artistic practice focuses on the vast, wild areas of the American West. Inspired by the natural environment of the small waterfront town where he was raised, Fauntleroy’s creative process largely focuses on the medium of water and its expansive relationships. Utilizing largely 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.
For the creation of his series Waterline (released in 2018), Snake River (2019), Elements (2020), Elements Spring (2025) and Confluence (2025), Fauntleroy spent over 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 moment. With Winter Stock (released in 2020), Fauntleroy took a different approach, photographing cattle from the ground at legacy 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. In Caldera (released in 2025), Fauntleroy frames the otherworldly blues, golds and ochre found only in the geothermal pools of Yellowstone during the warmer months.
Fauntleroy’s photographic approach emphasizes simplicity and stability. Over the past 20 years, he has developed a sparse visual aesthetic based on
minimalist lines and a keen sense of composition and scrupulous use of negative and positive space.
Fauntleroy’s work challenges our perception of our environs, hovering between the recognizable and the sublime. 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.
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. 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 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.
NOTES ON WATERLINE (2008 - 2017)
Waterline allows the viewer access to remote locations and rare conditions that most would never see otherwise. Emphasizing simplicity and stability, this series of images results from taking fight over the American West for the last decade to capture rivers at a critical moment in the spring. Works in this series are connected by the intentionality of photographing landscapes devoid of human interruption. Noting the transitional progressions in these remote locations, the photographs express a deeply human desire to capture and chase the ephemerality of seasons and time.
The imagery takes something fluid yet temporary in time and space and visually grounds it for silence and reflection. Detailed mapping, critical timing and an elevated point of view come together to form a graphic aesthetic in this contemporary study of landscapes.
This body of work was 12 years in the making and is ongoing. All photographs were shot via single engine airplane; no drones were used. Most of these locations are high mountain meadows at elevation in the Greater Yellowstone Ecosystem. These creeks and rivers freeze over completely in winter. Each spring there is a very small window of time when the temperatures have warmed enough to allow the water to come to the surface but the snowpack on the ground is still deep enough to cover the bushes, timber and grasses. Arriving at the exact place in time where rivers draw their elegant, painterly lines across the land was a critical hurdle to the execution of this work.
I , 2008-2017
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WATERLINE
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WATERLINE II , 2008-2017
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WATERLINE III , 2008-2017
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WATERLINE IV , 2008-2017
V , 2008-2017
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WATERLINE
WATERLINE VI , 2008-2017
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WATERLINE VII , 2008-2017
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WATERLINE VIII , 2008-2017
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IX , 2008-2017
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WATERLINE
WATERLINE X , 2008-2017
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XI , 2008-2017
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WATERLINE
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WATERLINE XII , 2008-2017
WATERLINE XIII , 2008-2017
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XIV , 2008-2017
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WATERLINE
ELEMENTS (2017-2019)
NOTES ON ELEMENTS (2017 - 2019)
Elements reveals visually arresting, abstract compositions of seasonal change in Grand Teton and Yellowstone National Parks. Focused on ice as it forms on bodies of water during bitter cold autumn nights, this series achieves bold, disorienting imagery that hovers between our representational world and pure abstraction.
Remaining true to his distinctive aesthetic, Fauntleroy’s first series in color 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. 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.
One becomes lost in a visual journey that conjures minimalist constructivism in one frame 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.
ELEMENTS I , 2017-2019
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ELEMENTS II , 2017-2019
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ELEMENTS III , 2017-2019
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ELEMENTS IV , 2017-2019
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ELEMENTS V , 2017-2019
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ELEMENTS VI , 2017-2019
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ELEMENTS VII , 2017-2019
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ELEMENTS VIII , 2017-2019
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ELEMENTS IX , 2017-2019
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ELEMENTS X , 2017-2019
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ELEMENTS XI , 2017-2019
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ELEMENTS SPRING (2023-2024)
NOTES
ON
ELEMENTS
SPRING (2023 - 2024)
A continuation of the artist’s Elements series (released in 2020), Elements Spring captures the springtime break up of ice on large bodies of water in the warming temperatures of Grand Teton and Yellowstone national parks. This annual event provides inherent drama with graphic, geometric shapes and deep hues of blue. Elements Spring furthers Fauntleroy’s ongoing exploration of water’s visual and conceptual potential. The fractured ice creates an otherworldly landscape, continuing a new line of inquiry into Fauntleroy’s distinct aesthetic.
The compositions are rich with tension and
movement: jagged ice floes intersect with glacial melt and sediment, creating complex arrangements of line, shape, and texture. Bold graphic forms emerge naturally from the lake’s surface, intensified by saturated blues and the stark contrast of snowcovered banks. Rooted in his broader interest in the rhythms of the natural world and the formal possibilities of water, Elements Spring extends Fauntleroy’s investigation into place, memory, and perception. The work evokes a deep respect for the environment, while simultaneously transforming it into a space of visual poetry—where ice, river, and time converge in ever-shifting dialogue.
ELEMENTS SPRING I , 2023-2024
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ELEMENTS SPRING II , 2023-2024
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ELEMENTS SPRING III , 2023-2024
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ELEMENTS SPRING IV , 2023-2024
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ELEMENTS SPRING V , 2023-2024
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SNAKE RIVER (2019)
NOTES ON SNAKE RIVER (2019)
Tuck Fauntleroy’s Snake River series developed as a stylistic deviation from the spare aesthetic of Waterline. While directly related and symbiotic with one another, Snake River leans heavily into the braided and aesthetically diverse waterways of the upper reaches of the mighty Snake River. 1,080 miles long, the Snake River begins near the Continental Divide in Yellowstone National Park, before flowing south through Jackson Lake and the Jackson Hole Valley, turning west towards Idaho on its eventual path to the Pacific. The river’s meandering oxbows and braided tributaries form a near-arterial map of life-giving ecosystems that feed tens of thousands of species of wildlife and plants, and in turn provide its fortunate human neighbors recreational joy and a distinct way of life.
While his earlier compositions often explored minimalism and open space, this new series embraces complexity—where the river’s winding channels, fractured ice, and layered textures create intricate networks of line and form. The aerial perspective remains, but here it reveals a tighter, more interwoven visual field, rich with tonal contrast and rhythmic detail. The Snake River becomes not only a subject, but a force of visual accumulation—its meanders, tributaries, and snowy banks converging into compositions that verge on the abstract, yet remain deeply rooted in place. This density invites slower looking, asking the viewer to navigate a terrain where nature’s patterns are both revealed and reimagined.
SNAKE RIVER I , 2019
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SNAKE RIVER II , 2019
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SNAKE RIVER III , 2019
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SNAKE RIVER IV , 2019
SNAKE
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RIVER V , 2019
NOTES ON WINTER STOCK (2011 - 2020)
All the locations for Winter Stock are turn-of-thecentury homesteaded cattle ranches in the Jackson Hole valley: Walton Ranch, Mead Ranch, Lucas Ranch, and Resor Ranch. These days, very few cattle winter in the valley because of the extreme cold and harsh environment. Most are now moved to ‘winter pasture,’ warmer climates with better food source and habitat. These few legacy ranches maintain small herds through the winter, preserving the history and culture of the area.
All images in the Winter Stock series are intentionally photographed during the late fall and winter season
because of the stark graphic aesthetic these scenes create. Pure white snow-covered ground with jet black cattle establishes a naturally black and white landscape with striking contrast. These compositions often take hours to create. The scenes tend to slowly evolve as the cattle move to graze and briefly create a balanced harmonious look and feel.
With all the change and development in Jackson over 100+ years, it's remarkable to see these ranches and settings that have remained constant. For Fauntleroy, it evokes a grounded feeling of calm and stability in a rapidly changing world.
WINTER STOCK I , 2011-2020
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WINTER STOCK II , 2011-2020
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WINTER STOCK III , 2011-2020
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WINTER STOCK IV , 2011-2020
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WINTER STOCK V , 2011-2020
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BURN (2020-2022)
NOTES ON BURN (2020 - 2022)
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 singleengine 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 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.
BURN I , 2019-2022
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BURN II , 2019-2022
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BURN III , 2019-2022
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BURN IV , 2019-2022
BURN V , 2019-2022
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BURN VI , 2019-2022
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BURN VII , 2019-2022
BURN
VIII , 2019-2022
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BURN IX , 2019-2022
X , 2019-2022
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BURN
BURN XI , 2019-2022
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CALDERA (2023-2024)
NOTES ON CALDERA (2023 - 2024)
Caldera presents the artist’s first focused study of the extreme geothermal landscape of Yellowstone National Park. For Fauntleroy, honoring the geologic and scientific singularity of the Yellowstone Caldera felt like an eventuality within his practice, but one he had to approach in the right way. The first national park in the world, Yellowstone comprises over 2 million acres, the largest nearly untouched ecosystem in the earth’s northern temperate zone. It’s also an active super volcano, with roughly half of the world’s active geysers.
Geologist Ferdinand Hayden led the first scientific exploration of Yellowstone Park in 1871, writing of
the geothermal landscape, “Nothing ever conceived by human art could equal the peculiar wildness and delicacy of color of these remarkable prismatic springs. Life becomes a privilege and a blessing after one has seen and thoroughly felt these incomparable types of nature’s cunning skill.” Following in the tradition of Albert Bierstadt and Ansel Adams, Fauntleroy turns his lens on the park’s thermal basins, creating abstract compositions using the otherworldly colors of these microbial springs as they are; nature’s paintbrush.
CALDERA I , 2023-2024
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CALDERA II , 2023-2024
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CALDERA III , 2023-2024
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CALDERA IV , 2023-2024
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CALDERA V , 2023-2024
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CALDERA VI , 2023-2024
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CONFLUENCE (2023-2024)
NOTES ON CONFLUENCE (2023 - 2024)
Confluence continues Fauntleroy’s formal exploration of the visual language of water, expanding upon themes first introduced in his 2018 breakout series, Waterline Rendered in black and white, the images trace the meeting of river and lake—fluid pathways converging in striking, graphic compositions. Deep tonal contrasts and bold ribbons of water cut through fractured ice, following the winding channels of a landscape shaped by time and movement. Through this visual interplay of texture, flow, and form, Confluence meditates on the quiet drama of nature’s transitions, offering a study in rhythm, space, and the enduring presence of water.
Each frame incorporates a meticulous months-long planned approach, carefully timed to capture water as it carves a springtime channel into the frozen lake. Fauntleroy works in tandem with a skilled pilot, often hanging out of the window of a single-engine airplane while it swoops for every planned shot. Timing, seasonality, and tracking the notoriously mercurial temperature of the Wyoming springtime is paramount to each successful image.
CONFLUENCE I , 2023-2024
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CONFLUENCE II , 2023-2024
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CONFLUENCE III , 2023-2024
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CONFLUENCE IV , 2023-2024
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CONFLUENCE
V , 2023-2024
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CONFLUENCE VI , 2023-2024
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CONFLUENCE VII , 2023-2024
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CONFLUENCE VIII , 2023-2024
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CONFLUENCE IX , 2023-2024
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MAYA FRODEMAN GALLERY
