Vanessa Compton and George Middleton
A Collaboration
I first saw Vanessa's art in Vermont while visiting a mutual friend, who suggested we view her exhibit at a regional art center. I was instantly mesmerized by the exciting blend of collage, mixed media, and painting. I thought the images revealed a powerful emotional connection with nature, the spirit, and our human condition. Shortly afterwards, I was fortunate to meet her and visit her studio, and eventually we began working together. We envisaged a dynamic contrast between her contemporary and intensely political imagery emerging from the sort of dream-like magical landscape themes of my own work. Here are some of the resulting works.
Left: Thomas Moran’s Laguna, New Mexico Looking from the East, a watercolor, gouache, and pencil on paper from 1891. Right: Lost City, ©2018, watercolor and acrylic on vintage Arches cold pressed paper attached to a cradled birch panel with a hand-painted edge patina, 28 x 28. Inspired by the Thomas Moran sketch, Vanessa established the theme and composition with a drawing and watercolor underpainting, which I embellished futher with acrylic paint. This was our first major collaboration. Lost City is available as a 16 x 16 fine art print.
Velvet D’Arrest ©2025 collaboration with Vermont artist Vanessa Compton, 20 x 30 x 2 paper collage on a pigment ink jet print on canvas from a gouache painting. This work was created in part for Vermont Vice: Sex, Drugs, Money, and Murder, exhibited at the Bennington Museum. “While Vermont is often imagined as an idyllic rural paradise, largely free from the darker elements of humanity, anyone who lives here or knows its history understands this isn’t true. The state has long shared the darker issues found anywhere humans settle—from counterfeiters, rum runners, and drug dealers to girlie shows, illicit gambling, and even murder.” About this piece, Vanessa writes: “I wanted to marry George’s exquisite use of color and movement with collaged moments inspired by the exhibition statement, so that it feels rooted in Vermont’s pastoral landscape yet charged with a contemporary energy that reflects what it feels like to be alive right now.” Available at Krinshaw Studios.
THE PAST ©2023 collaboration with Vermont artist Vanessa Compton, 30 x24 paper collage on a pigment ink jet print on canvas from a gouache painting, For us, the wide open vistas of the American West invite reflection and symbolize the passage of time, of eons gone by. Vanessa’s narrative in cut paper collage celebrates the transition from the past into a new beginning, with new possibilities. Her use of the black and white ‘ritual’ images of Diane Arbus enhances the contrast of the timeless and transitory in this work. “I’m particularly drawn to how she would document the celebrations of folks on the fringes of society- for instance a birthday party at an asylum. After all, everyone has the right to celebrate” The hands cradle peyote, a symbol of the magic in transformation, the hidden sacred power in this magical existence. $1800. Available at Krinshaw Studios.
Shalako Beholds The Multiverse ©2022, 15 x 11 watercolor and collage on paper. Available at Western Gallery
Education of a Wandering Man ©2022, 11 x 14 watercolor and collage on paper. Available at Soapbox Arts
Lost City ©2018 collaboration with Vermont artist Vanessa Compton, 28 x 28 pencil, watercolor and acrylic on paper on a wood panel. The “Shining City on the Hill”, inspired by Thomas Moran in New Mexico. sold prints
Tie-Dye Love, ©2018 watercolor and paper collage on vintage Arches cold press watercolor paper, 25 x 22. With this piece, Vanessa created the theme and narrative with cut-paper collage. I followed, painting a watercolor background.
Brothers in Arms and Big Sky Country, ©2018, diptych watercolor and printed paper collage on Rives paper, 11 x 15 each and framed separately. In this work, I painted several watercolor backgrounds, and Vanessa created the theme and narrative with cut-paper collage. Big Sky Country (on the right) is available from Krinshaw Studios.