Some landmarks keep time better than any clock, one thin layer of sandstone at a time. Near Moab, Utah, Hours in Stone catches Church Rock in low, warm light, its banded dome and stacked capstone glowing orange against a pale blue sky, with the blue-gray La Sal Mountains standing quietly behind.
The eye lands first on the sunlit face, where the pale and rust-colored strata run in long horizontal bands, then climbs them to the ledged capstone at the top. From there it drifts left across a single small cloud to the La Sal Mountains, and returns along the long shadow of the hillside to the dark red base band that anchors the rock. Sage and low shrubs fill the foreground, and the mesas along the right horizon keep the scene open to the edge of the frame.
The patience of this kind of subject, one monument given the whole sky, belongs to Ansel Adams's western landscapes. The warm orange set against a cool, pale blue is closer to Ernst Haas, who let a single strong color relationship carry a whole picture.
Design & Styling
Hours in Stone brings the warmth of the Utah desert to lodges, hotels, Southwest restaurants, living rooms, offices and long hallway walls. The orange and blue sit comfortably beside leather, saddle tan, walnut, stone and turquoise, and the wide 16:9 format suits a mantel, a sofa wall, a console or a stair landing where a horizontal piece is wanted.
Curated Pairings
Three companions, each connected in a different way:
For the same rock in black and white: Pair with Sentinel of the Plain, the same Church Rock in a vertical frame, treated with a red filter in the tradition of Ansel Adams so the sky goes near-black and the strata stand out in stark relief. Same stone, opposite mood: warm color and open sky here, graphic drama there.
For a different Church Rock: Pair with Standing Grace - Kayenta, the formation near Kayenta on the Navajo Nation. Same name, different rock and a different mood, under the lingering clouds of a passing storm.
For the same Moab country: Pair with Before the Desert Opens, a road approaching Moab, with red sandstone formations, distant mountains and towering summer clouds. A wider view of the same Colorado Plateau landscape.
Fine Art Presentation
Available as a signed and numbered limited edition of fifteen (15) prints in ChromaLuxe® Metal (Gloss, Semi-Gloss or Matte), TruLife acrylic, archival paper (framed or unframed), canvas and wood. ChromaLuxe® Metal is the recommendation: the saturated orange of the lit rock against the pale blue sky is a crisp color relationship, and metal keeps both clean and bright. TruLife low-glare acrylic is the alternative if you want the glow of the sunlit face to carry some depth. Archival paper suits a quieter, more traditional presentation.
Note: Custom and oversized photographic prints are available. Please contact the studio directly to discuss custom framing, matting, or specialized museum glass options.
Some landmarks keep time better than any clock, one thin layer of sandstone at a time. Near Moab, Utah, Hours in Stone catches Church Rock in low, warm light, its banded dome and stacked capstone glowing orange against a pale blue sky, with the blue-gray La Sal Mountains standing quietly behind.
The eye lands first on the sunlit face, where the pale and rust-colored strata run in long horizontal bands, then climbs them to the ledged capstone at the top. From there it drifts left across a single small cloud to the La Sal Mountains, and returns along the long shadow of the hillside to the dark red base band that anchors the rock. Sage and low shrubs fill the foreground, and the mesas along the right horizon keep the scene open to the edge of the frame.
The patience of this kind of subject, one monument given the whole sky, belongs to Ansel Adams's western landscapes. The warm orange set against a cool, pale blue is closer to Ernst Haas, who let a single strong color relationship carry a whole picture.
Design & Styling
Hours in Stone brings the warmth of the Utah desert to lodges, hotels, Southwest restaurants, living rooms, offices and long hallway walls. The orange and blue sit comfortably beside leather, saddle tan, walnut, stone and turquoise, and the wide 16:9 format suits a mantel, a sofa wall, a console or a stair landing where a horizontal piece is wanted.
Curated Pairings
Three companions, each connected in a different way:
For the same rock in black and white: Pair with Sentinel of the Plain, the same Church Rock in a vertical frame, treated with a red filter in the tradition of Ansel Adams so the sky goes near-black and the strata stand out in stark relief. Same stone, opposite mood: warm color and open sky here, graphic drama there.
For a different Church Rock: Pair with Standing Grace - Kayenta, the formation near Kayenta on the Navajo Nation. Same name, different rock and a different mood, under the lingering clouds of a passing storm.
For the same Moab country: Pair with Before the Desert Opens, a road approaching Moab, with red sandstone formations, distant mountains and towering summer clouds. A wider view of the same Colorado Plateau landscape.
Fine Art Presentation
Available as a signed and numbered limited edition of fifteen (15) prints in ChromaLuxe® Metal (Gloss, Semi-Gloss or Matte), TruLife acrylic, archival paper (framed or unframed), canvas and wood. ChromaLuxe® Metal is the recommendation: the saturated orange of the lit rock against the pale blue sky is a crisp color relationship, and metal keeps both clean and bright. TruLife low-glare acrylic is the alternative if you want the glow of the sunlit face to carry some depth. Archival paper suits a quieter, more traditional presentation.
Note: Custom and oversized photographic prints are available. Please contact the studio directly to discuss custom framing, matting, or specialized museum glass options.
Image 1 of 5
Image 2 of 5
Image 3 of 5
Image 4 of 5
Image 5 of 5