The Vineyard and Winery Series
Consider this a companion piece to the Food and Beverage Series. As I worked my way through twenty works in that series, a lot of my artistic style and focus changed. The subjects themselves became less important and the environments that they were in became the center of my attention. In addition, I found myself gravitating to more of a Shin-Hanga influence and a desire to work on more landscape compositions.
This is what brought me to vineyards and wineries as a series subject. Throughout my life wine has played an integral part, whether I knew it or not. I was partially raised on a vineyard, my mother built wineries and I’ve been selling and serving wine for 20+ years. All of these confluences led me to this series that is dedicated to the people, wineries and vineyards that have shaped my wine world. My goal for this series is to reinterpret the Shin-Hanga style through my own ‘grenache-colored’ lens and bring the viewer into a new way of looking at wine.
Pic Saint Loup ピク•サン•ルー (Piku San Ru) 2023
12x12 inch ink and pencil on wood block with wood burned lines
I wanted to conclude the Vineyard and Winery Series by depicting the region that spurred my deep dive into the world of wine. For many, their ‘gateway wine’ was probably something famous like a first-growth Bordeaux, cult Napa cab or an ethereal white Burgundy. For me, it was a bottle of Ermitage du Pic St. Loup rouge. In the early 2000s I was working in Calistoga, surrounded by ‘serious wine’ but at the time, I was pretty much a beer n’ booze guy. I liked wine, but didn’t fully get it. I had visited the Pic St. Loup region and loved it so I figured it was a good place to start. My mind was blown. The wine tasted of the landscape: warm and a little rugged with olive and dried herb that reminded me of the garrigue. I immediately sought more wines from here, and the concept of terroir just clicked. From there, I continued to devour the wines of the Languedoc-Roussillon and it continues to be my favorite region to this day. Conceptually, I wanted to highlight the majestic peak that gives the region it name, but I also wanted to capture the sunset-sunrise feel that Shin Hanga works, particularly those of Hasui Kawase used. While some mind find these wines run-of-the-mill, I think they are some of the most important wines in my life.
Rutherford ラザフォード (Razafōdo) 2023
12x12 inch ink and pencil on wood block with wood burned lines
When I started this series I swore that I would not depict the famous ‘mustard’ that blankets the Napa Valley from February through March. well, here we are. While mustard is a great cover crop, I have always had an issue with how overblown the valley’s marketing machine made it. But look, people love it and I am here to grant them their wish. ‘Rutherford’ is set at the Rachel Rossi vineyard, originally planted in 1903. This field-blend vineyard is under the stewardship of Frogs Leap and Calder wines, and more importantly John and Rory Williams. I am a huge proponent of dry farmed wines-grapes grown without irrigation-and these two are ambassadors of the movement in the Napa Valley. From the iconic water tower to the mustard, this setting screams ‘Napa’ and is an ode to my homeland.
Priorat 修道院 (Shūdōin) 2023
12x12 inch ink and pencil on wood block with wood burned lines
When you see the Serra de Montsant mountains and the ancient Cartoixa Escaladei, you can get a sense why people make pilgrimages here. The Priorat came to me pretty late as a wine region, but I immediately fell in love as it is based on two of my favorite grapes: Garnatxa and Cariñena. Scala Dei is the OG winery in the region, with vineyards first planted by the Carthusian monks in 1194. This work depicts their Sant Antoni vineyard, all head-trained Garnatxa vines planted in an amphitheater-shaped area under the imposing Montsant mountains. This site has my holy trinity of vineyard compositions: mountains, old vines and a building to anchor it. The structure is an old Mas, or farmhouse, that was originally a chapel in the long gone village of Montalt that disappeared in the beginning of the 15th century. I really wanted to depict the rugged beauty of the region and pay homage to Hiroshi Yoshidas “El Capitain” from 1925, one of my favorite Shin Hanga works. The wines from this region, and this vineyard in particular, vie for what I would call the best Garnacha in the world. I suggest making a pilgrimage of your own to this wine.
Franschhoek フランシュフック (Furanshufukku) 2023
12x12 inch ink and pencil on wood block with wood burned lines
I have wanted to include a South African vineyard in this series from the start, but I had trouble sorting out which one because the whole place is heartbreakingly beautiful. My friends the Mullineauxs suggested that I look at Boekenhoutskloof as a subject and man did they nail it. Located in Franschhoek, this vineyard site has my holy trinity of vineyards: Mountains (the Franschhoek range), architecture (stunning classic Cape Dutch style) and amazing wines. I really wanted to capture a vineyard in harvest and this seemed like the perfect setting. In addition, Boekenhoutskloof is a member of the Old Vine Project- vintners in SA dedicated to cataloging, promoting and protecting the nations truly old vine heritage. I may revisit SA again for another vineyard- Im coming for you Swartland!
Barossa Valley バロッサバレー (Barossabarē) 2022
12x12 inch ink and pencil on wood block with wood burned lines
I have so much love for Australia and its wine culture that it was difficult to pick a region to represent in my work. After a ton of research on vineyards I settled on the palm-lined Seppetsfield Road in Marananga, Barossa Valley. I have a deep appreciation for all of the beautiful old vines and wanted to capture that epic golden light found only in the great southern land. I drew a lot of inspiration from the works of the great Osamu Sugiyama to get the depth of composition right and also ‘anchored’ the piece with the old Gnadenfrei church located there. I know a lot of wine lovers feel burned by ‘critter label’ wines that flooded the market in the 90s and 00s, but trust me when I say that some of the most exciting wines in the world today are coming out of Australia and you should take notice!
Chehalem Mountains チェハレム山脈 (Cheharemu Sanmyaku) 2022
12x12 inch ink and pencil on wood block with wood burned lines
Few people have spent much time in vineyards after dark. Wine tasting tourists rarely see a vineyard after they snap their sunset pick and head back to their hotel. As a kid in Napa, we spent a ton of time in vineyards after dark. We would meet in the vines and drink beer lit by some headlights and our music on the radio. To me, vineyards at night are a special place, kind of a ‘locals time’ after the tour buses left. I really wanted to include a night scene in this series, as some of the Shin Hanga legends did their most famous works in nighttime settings. The two huge trees that stand sentinel in the estate vineyard of the Willamette Valley’s JK Carriere winery gave me the idea. Jim Prosser is one of my favorite winemakers and people in Oregon and his winery is a magical place, perched high atop Parrett Mountain. This was the perfect subject for me to explore a vineyard at night with those trees silhouetted by a full moon.
Valle d’Aosta
ヴァッレ・ダオスタ (Vu~arredaosuta) 2021
12x12 inch ink and pencil on wood block with wood burned lines
It’s kind of funny that the wines of Italy’s Valle d’Aosta region weren’t really known to me until about seven years ago. My grandmother’s family was from the region as dairy farmers that moved to Northern California in the 1920s and I was very familiar with the area’s cheeses. When I first dove into the wines I was struck by how polished they were and all the unique grape varieties that I had never heard of; it was love at first sip. The valley is the least populous area of Italy and is supremely beautiful. These wines, coupled with the backdrop of the Alps and especially Mont Blanc were too much for me to ignore it as a subject. I wanted to depict how narrow and imposing the mountains are in the composition, so I chose an old mill located in the vineyards of Les Cretes as my main subject that offered a view of the Alps in the background. I set this in late autumn so that the piece could have a snow-covered mountain and the electric yellows of a vineyard before the leaves drop. This was a ‘simpler’ composition, as I wanted to convey a more serene scene that evokes the work of Yoshida Toshi’s ‘Sacred Mountain in Nepal’ that was a major inspiration. I can’t wait to visit this place and all of the wines that inspired it.
Contra Costa コントラ コスタ (Kontorakosuta) 2021
12x12 inch ink and pencil on wood block with wood burned lines
I love old-vine vineyards. I am totally enamored with their gnarled, craggy shapes and the fact that most aren’t in perfect manicured rows. When Morgan Twain-Peterson suggested that I do a piece on Evangelho Vineyard, I was hooked. These own-rooted vines date back to the 1890s and are planted in sandy soils along the Sacramento River Delta, mostly of Mataro, Carignane and Zinfandel varieties. These wines much more elegant than one would think. With the PG&E powerplant in the background, the site is a strange dichotomy of post apocalyptic beauty. Artistically, I went for a serene pink skyline to compliment the beige-y sandy soils and highlight the tranquility of the scene. The red tractor in the foreground brings a little weight to the bottom of the composition.
Horse Heaven Hills ホース・ヘヴン・ヒルズ (Hōsu Hevun Hiruzu) 2021
12x12 inch ink and pencil on wood block with wood burned lines
I love everything about the eastern Washington wine scene. I love the fact that there isn’t a distinct grape or style that defines the region and that it’s like the ‘wild west’ of wine. Perched on steep cliffs overlooking the mighty Columbia River, Wallula Vineyard is a wonder to behold. This huge vineyard climbs from 320 feet up to 1367 feet and is the source of some of the the finest wines in America. The vineyard blocks are carved from the basalt cliffs, creating a high-wire patchwork that is just a stunning sight to see. I view this work as a companion piece to my Columbia Gorge piece. Both works are set on opposite sides of the Columbia River looking across at the other state. I consider them both to be an ode to my beloved Columbia River.
Columbia Gorge コロンビア峡谷 (Koronbia Kyokoko) 2021
12x12 inch ink and pencil on wood block with wood burned lines
When my family and I moved to Oregon in 2006, the Columbia Gorge instantly became an extension of our backyard. Many people that visit the area are unaware that this is one of the most exciting new(ish) wine regions in the world. This piece is set at Garnier Vineyard in Mosier, Oregon, just outside Hood River. I have made wine from this vineyard on a number of occasions and it shows the wide diversity of viticulture that the AVA offers. The setting, perched on the edge of the massive Columbia River and looking across to Washington, is insanely beautiful. I really wanted to capture the autumn colors and bucolic rural landscapes that Kawase Hasui often represented. I am still out here often, either on the trails and on occasion in the vineyards. Next time you visit here, come for the waterfalls AND the vineyards.
Provence プロヴァンス (Pūrovu~ansu) 2020
12x12 inch ink and pencil on wood block with wood burned lines
When many people think of Provence, they dream of fragrant lavender, azure blue water and rose wines. My images of Provence include dry craggy rocks, gnarled olive trees and the wines of Domaine de Trevallon. When I first tried this wine in 2006 it nuked my brain with its unique balance of power and finesse. To this day, it is my favorite wine in the world and one of the few that I religiously collect. I really wanted to include another interior in the series and Trevallon’s modern tank room with its angular cuts to let in natural light were too striking to pass up. I also got to do my own impression of their famous logo on the title cartouche- a nod to Rene Durrbach’s designs. Do yourself a favor and go find yourself some Trevallon wines; you will not be disappointed.
Sonoma Valley ソノマバレー (Sonomabarē) 2020
12x12 inch ink and pencil on wood block with wood burned lines.
I knew that I wanted to include this place when I began this series; in fact, one of the reasons I started it was do do this piece. Growing up in Napa I spent many a day driving around the beautifully twisted roads shroud in fog. When it comes to vineyards, it’s all about Monte Rosso. Located in the Moon Mountain AVA, this historic vineyard (first planted in the 1880’s) is my favorite in the state. Packed with gnarled old vines jutting up from red volcanic soil and a high elevation view, the place and the wines made from it are just a different class. I wanted to include vineyard manager Brenae Royal and her trusty pup Violet Mae as she is a new force in the world of wine and and inspiration to us all. I look forward to seeing what she does with California’s crown jewel.
Campania カンパニア (Kanpania) 2020
12x12 inch ink and pencil on wood block with wood burned lines
In challenging myself artistically, I really wanted to include a piece with a coastline. There are not a lot of vineyards that sit right on the water, so my choices were limited. The Amalfi Coast checks all the boxes I was looking for. Maybe I’ve seen The Talented Mr. Ripley too many times or that I am just COVID-cooped-up, but this impossibly terraced vineyard grabbed my attention immediately. In addition to the regional beauty, Campania makes some of my favorite wines. From complex Fiano to brooding Taurasi these wines have become favorites in recent years. If you are into Italian wine, please don’t sleep on Campania.
Rioja リオハ (Rioha) 2020
12x12 inch ink and pencil on wood block with wood burned lines
When I was young I wanted to be an architect (or a 2nd basemen for the Mets). I spent a lot of time on construction sites where my mom was building beautiful homes and wineries in Napa. This piece is a simultaneous exploration of my love of Spanish and architecture. Lopez de Heredia in Rioja not only makes one of my favorite wines in the world, the juxtaposition of the old stone winery with the sleek and modern tasting room is visually arresting. This piece was also inspired by the night works of Hasui Kawase and Tsuchiya Koitsu. Spain is a wine lovers paradise and if you aren’t drinking copious amounts of Spanish wines, you are missing out.
Bourgogne ブルゴーニュ (Burugōnyu) 2020
12x12 inch ink and pencil on wood block with wood burned lines
I don’t have a ton of experience with Burgundy wines. I live in Oregon, so amazing Pinot Noir isn’t something I need to hunt for and the price of high-end Burgundies has always scared me off. However, I wanted to include a ‘snow piece’ and a Faiveley from Chambertin-Clos de Beze was one of the wine drinking highlightsof my life. Snow, especially in the works of Hasui Kawase, is a main theme in Shin Hanga compositions and I felt that I had to include it. My goal was to capture the bleak-looking desolation of vineyards in winter.
Barolo バローロ (Barōro) 2019
12x12 inch ink and pencil on wood block with wood burned lines
Deciding the composition of this piece was all about the buildings. I knew that I wanted to do a piece on Piedmont, but choosing the right spot was going to be difficult. When I first saw photos of Castiglione Falletto and it being the home of Vietti, I knew I had hit gold. In my landscapes I had typically done night scenes or blue skies with clouds. I wanted to change it up with an electric sunrise found in many traditional Japanese works. This region is legendary for epic wines and I wanted a composition to match.
Dundee Hills ダンディーヒルズ (Dandīhiruzu) 2019
12x12 inch ink and pencil on wood block with wood burned lines
When I first moved to Oregon in 2006 I was a little worried; I didn’t know how the tight-knit Oregon wine community would embrace yet another Californian. My fears were soon dispelled as I got to know the winemakers of the Willamette Valley: what an amazing group of people. When thinking about where to set this piece I immediately was drawn to Cameron Winery and the magical cave where John Paul works his magic to produce his signature style of wines. I have spent a lot of time in this place and love that it feels like a 200 year old cave in France, not in Oregon. In addition, Cameron is a founding member of the Deep Roots Coalition- growers committed to producing wines from dry farmed rather than irrigated vines. I’ll drink to that!
Napa Valley ナパバレー (Napabarē) 2019
12x12 inch ink and pencil on wood block with wood burned lines
This one really hits home. I am a native Napan and both sides of my family date back to the 1800s there. I know this valley deep in my bones. Choosing a site for this composition was brutal as I have such a connection to hundreds of possible ideas. I reached out to my old friend Carolyn Corley Burgess for help. She is an amazing vineyard photographer whose work greatly influenced this series. Working from her photos I chose a view from high up on Oakville Grade road looking across the valley at the Vaca range. I really wanted to create a Napa version of Toshi Yoshida’s 1962 work Mt. Fuji from Ohito. Fun fact- Carolyn and I worked at the Oakville Grocery together back in the day and this view is an west-to-east view of Oakville. I hope I did six generations of Doughtys and Rutherfords proud.
Châteauneuf-du-Pape
シャトーヌフ・デュ・パプ (Shatōnufu de~yu papu) 2019
12x12 inch ink and pencil on wood block with wood burned lines
Berkeley-based wine importer Kermit Lynch changed everything for me when it comes to wine. I was a Napa kid, raised on Napa wines and didn’t bother exploring out of what I knew. Plush and powerful Cabs baby. That all changed in about 2000 with a bottle of Vieux Télégraphe. At first I hated it; waaaay to rough for my California-trained palate. But I was intrigued, and it led me to tasting gobs of French wines from Kermit. This piece is of the famed La Crau vineyard in Châteauneuf-du-Pape. The landscape looks like the moon: the large galets roulés that blanket the area are otherworldly and then the gnarled, twisted gobelet-trained vines are a sight to behold. From a color standpoint I chose a much more muted palate, similar to what Toshi and Hiroshi Yoshida used in their Shin-Hanga landscapes.
Corsica コルシカ島 (Korushikashima) 2019
12x12 inch ink and pencil on wood block with wood burned lines
I cant think of a better way to start the Vineyard and Winery Series than with this work. For me, a visit to Corsica in 2003 was a mind-blowing experience. I was already immersed in food and wine culture, but it was cemented on this island. This image depicts a vineyard owned by Domaine de Torraccia (which I visited) and the imposing Aiguilles de Bavella mountains in the background. Located outside Porto Vecchio, this place burned in my brain as I place I wanted to draw one day. If you get the chance to visit, I highly recommend going to Corsica; it is like ‘Disneyland’ for people obsessed with food and drink.