Demonstrations & Workshops

Plein Air Moab offers an amazing opportunity for you to grow as an artist, meet new people and learn from some well known, top notch artists.

There is a 12-student limit to each workshop. We suggest you register early.

Kathryn Stats’ work is very much her own, not really echoing the styles of any of the Utah painters with whom she studied. Though she learned from each of them, she credits the books of painters like John F. Carlson and Emil Gruppe for much that she practices.

That she first chose the Utah and Arizona landscape might seem to be the result of circumstance, but her work glows with the warmth of someone who loves her surroundings. She is at home in all of her paintings. For her, the landscape is always a “feast for the eyes.”

Kathryn’s class is designed for intermediate to advanced students who have had some experience working in plein air. Focus will be on designing the large patterns in terms of value (dark to light), and developing these shapes into color and keeping the color true to the value they represent.

Kathryn’s Work

The Value of Color with Kathryn Stats
Open to Intermediate through Advanced
Dates: A two-day oil painting workshop. Saturday and Sunday: October 1st and 2nd. 9am – 4pm both days.
Cost: $250

Register Here | Print Artist’s Supplies | Get the Schedule

Visit Kathyrn’s Website

Spike Ress. Born in Long Island, NY in 1948, Spike Ress had early exposure to the world of commercial art through visits to his maternal grandfather’s studio at Grand Central Station. Though his Air Force family moved from place to place, these early impressions never left him. In the 1960s the Ress family transferred to Roswell, New Mexico. It was there Ress began his art career at the age of sixteen working for a local sign company. With his strong interest in art and a passion for learning he quickly gained the skills needed to advance into ever better poisitions in new locations, eventually becoming art director for a major sign company in Las Vegas, Nevada.

In spite of success as a commercial artist, Ress felt the pull of fine art ever since he first held a brush. Weekends and vacations were devoted to pursuit of his own artistic development, traveling with paints and camping gear to find the diverse landscapes that inspire his work. In 1978 he left commercial art to pursue painting full-time. He began with a focus on watercolor, a medium he still finds challenging and exciting. After gaining national acclaim as a watercolor artist, Ress added oils to his repertoire. “I find the contrast between the way one must handle the paint and brushes in oil versus watercolor stimulates me to more creative and expressive use of both media,” Ress says.

Today he works comfortably in both media but always with a preference for landscape. He knows well, and loves the land and clear light of the American Southwest but the challenge of new subject matter in different parts of the world is always rejuvenating. With a wanderlust born of his transient childhood, Ress still seeks adventurous travel whenever possible. Ress explains his approach: “No matter where I am, I try to respond with direct honesty to what is before me. It is my aim to capture the way a scene feels, not just the way a scene looks. Whether it’s the bright light of a hot Utah desert or a misty cold day in Alaska, I hope to communicate that feeling to the viewer.”

This two day watercolor workshop will focus on building a strong foundation on which to confidently begin a painting on location, with sufficient information to finish in the studio if needed. Participants can expect lectures on the lessons for the day, painting demonstrations and one-on-one help with their paintings and instructional critiques.

Spike’s Work

Plein-Air Watercolor Inside/Out with Spike Ress
Open to All Skill Levels
Dates: A two-day workshop. Monday and Tuesday: October 3rd and 4th, 8:30 am – 4 pm both days.
Cost: $200

Register Here | Print Artist’s Supplies | Get the Schedule

Visit Spike Ress Fine Art

If Dennis Rhoades has any ‘mission’, beyond creating engaging artwork, it is a desire to call attention to the intrinsic worth of our natural environment. The divine nature of light reveals to the receptive eye, the timeless interaction of landforms, sky, water, flora, soil and rock. “When I’m outside with my sketchbook, I am aware of the shapes of things and I visualize them in black and white. All of my paintings begin this way, in pencil or ink. As the shapes develop, the painting’s sense of color relationships begins to emerge. Ideas about color, narrative, and expressing a sense of the place, unfold as the painting’s structure develops in my sketchbook — like creating a musical composition.”

His intent is to create something beautiful and harmonic. While subject matter is of prime consideration, further contemplation of the painting eventually yields subtle nuances of texture and rhythm. His paintings possess qualities meant to outlast the viewer’s initial infatuation, qualities that will endure well into succeeding generations. The result is his extremely delicate, yet tactile, manifestation of natural forces and light. “Paintings become symbols of all that we are and on good days; some call it poetry. Nothing expresses human emotion better than a landscape painting.

With pastel stick and brush, Rhoades gets personally involved in conducting, refining, coaxing, and interpreting his own score. “I feel this music touches the eyes with distinct rhythmic textures, letting the canvas reflect how earth and sky are interwoven.”

The music and art connection can best be described in the late 19th century concept of synaesthesia or the blending of senses. The idea means that sensory perception of one kind can manifest itself as a sensory experience of another. Color was considered a core element in sensory perception and in seeing color it has been asserted that one hears certain sounds. As with music, color can act directly upon the emotions.

Rhoades is also is a member of the Oil Painters of America and the American Impressionist Society, and has been featured in leading art publications such as Southwest Art, the Pastel Journal and International Artist Magazine. His work also resides in major public and private collections.

  • PSA Master Pastelist
  • IAPS Master Circle

The Pastel Society of America has only awarded the ‘Master Pastelist’ to about 230 painters and the International Association of Pastel Societies has awarded the ‘Master Circle Medallion’ to less than 80 painters.

My workshops are from 9am-4pm with an hour for lunch. I do a demo each morning while explaining the what and why of my painting and answering students questions. Then everyone paints on location in the afternoon while I visit each student as often as possible with helpful observations. The last 30 minutes of each day, we do a critique of everyone’s work.

Dennis’ Work

Plein-Air Pastel with Dennis Rhoades
Open to All Skill Levels
Date: A one-day workshop. Saturday only: October 8th, 9 am to 4 pm
Cost: $100

Register Here | Print Artist’s Supplies | Get the Schedule

Visit Dennis Rhoades Website