John Randall Nelson - Camel's Red Leaves

 Scottsdale


John Randall Nelson - Camel’s Red Leaves


6812 E Indian School Rd, Scottsdale



John Randall Nelson has been a staple in the Phoenix art scene since the 1990s.  His work can be seen in galleries, private residences and in public spaces, like Camel’s Red Leaves.  His style includes an abstract-figurative look.  You can typically make out shapes and words in his art, but they are often presented in an unrealistic way.  Nelson sees himself as a storyteller, commenting on the issues of the day.  However, his style often comes across as almost primitive, sometimes resembling cave paintings, with many elements of the story left for the viewer to fill in.  The result is a unique blend of images that pulls you in but then makes you work to move beyond the images that are presented.


When it comes to public art, this Arizona State University graduate describes his process like this:


The approach for every project begins by emphasizing the point of view, perspective, and scale of the site itself.  Make it impactful, make it theatrical, and integrate it into the surrounding environment. 


You can see this philosophy at work in Camel’s Red Leaves, with point of view, perspective and scale all playing a part.  Located along the Arizona Canal Path, the piece appears to be a tree that echoes the trees along the path.  However, within the leaves of the tree are walkers, bikers, runners - the people that would use the path.  The hole in the branches of the tree frames the peak of Camelback Mountain, one of the most popular recreation destinations in the valley.  The work connects the recreational elements of both the path and the mountain, the natural and the man-made, even making a relationship between old and new.  Though Camel’s Red Leaves is a relatively small, simple piece, the impact is powerful.


Here is another example of John Randall Nelson's art.  This is He, Closed Class, which was displayed at Gebert Contemporary Art Gallery in Scottsdale.






Last verified 12/2020.


Comments