203  Ledoux  Street
Taos, NM  87571
[ 575 ]  751 - 1262  -  email: art@203fineart.com

Come and Stay in our charming Casita 203:

Original work by Charles C. Gurd

Selected works being included in our 2014 Exhibition
"Screens of Memories & Flowers Imagined"

Images are not to scale.

"Screens of Memories - DSC4961"
56" x 76" oil on canvas diptych
"Flowers Imagined - DSC7268"
30" x 30" oil on canvas

"Screens of Memories - CFO13494"
60" x 58" oil on canvas
"Flowers Imagined - CFO13286"
36" x 38" oil on canvas

"Screens of Memories - DSC13228"
58" x 60" oil on canvas
"Flowers Imagined - CFO13284"
36" x 38" oil on canvas

"Screens of Memories - CFO13274"
44" x 42" oil on canvas
"Flowers Imagined - CFO13282"
36" x 38" oil on canvas

"Screens of Memories - DSC7370"
42" x 44" oil on canvas
"Flowers Imagined - CFO13288"
36" x 38" oil on canvas


Charles C. Gurd


<>Painter, fine art photographer and architect Charles C. Gurd periodically settles in Santa Fe for a “season” of three or four months—when not in Victoria, Canada or Provence, France—to work on his large-scale paintings, which he refers to as “formless events intended to coalesce and communicate an energy that is commonly shared.”

<>Born in Montreal, a graduate of McGill and Rice universities, Gurd has travelled extensively, working with I.M. Pei and Partners and the Office of Charles and Ray Eames before opening his own architectural office. He has exhibited paintings and photographs in fifteen solo exhibitions and taught at several universities.

<>For twenty years, Northern New Mexico has been a powerful source of creative energy in his work, not unlike the island of Hydra, Greece, he says, where he has also spent much time. This exhibition in Taos, "Screens of Memory & Flowers Imagined", reflects the artist’s longtime contemplation of metaphysical concerns, among them: the realization in Eastern philosophies that we are semi-blinded from present reality by the “screens” of past memories.  

In Gurd’s recently constructed studio, off Agua Fria Street in Santa Fe, the process of painting continues in what he describes as an ongoing “action”—absorbing and siphoning the special spirit of this place.  On a typical morning, a rooster across the street crows before dawn, and doves become a choir
to usher in the day.

Like Monet’s Water Lilies or Jackson Pollock’s drip paintings, the imagery of Charles C. Gurd is aimed at mimicking our perception of nature’s complex visual universe. Gurd’s painting is abstract in the sense that the material subject has been removed, with the unifying atmosphere taking precedence. The resulting perspective reflects a shift from the exterior world to an inner landscape. The work is also an expression of the artistic process itself: Paint spills freely from the brush, which never touches the tilted canvas. In those brief airborne moments, pigment follows its own trajectory, creating an aesthetic that embraces
uncertainty, mystery, and chance.