Tuck Fauntleroy (b.1978, Easton, Maryland) lives and works in Jackson Hole. After receiving his B.A. from Bucknell University in 2000, he moved West and has been rooted in Wyoming since. Inspired by the natural environment of the Eastern Shore of Maryland and the small waterfront town where he was raised, Fauntleroy's art often finds its way in the medium of water.
Early influence based in traditions of the coastal culture of the Chesapeake Bay expand to new photographic discovery within Wyoming's vast, largely uninhabited ecosystems. Fauntleroy's overall style is marked by an adherence to simplicity and the interplay of negative and positive space. Form, shape and strong visual lines are at the foundation of his work. From hard-to-find locations and rare environmental conditions Fauntleroy offers a new position on and abstract view of the landscape.
Combined with his personal photographic practice, Fauntleroy has developed a professional foundation as a photographer in the fields of architecture and interior design over the past 20 years. Published in recognized outlets such as The New York Times, The Washington Post, Dwell, Conde Nast Traveler, Newsweek, Powder Magazine, Ski, The Fly Fish Journal, Mountain Living, Range, and Town & Country, Fauntleroy’s successful commercial and interior work is committed to utilizing the aesthetics of the natural world.
For this series Fauntleroy allows the viewer access to remote locations and rare conditions that most would never see otherwise. Utilizing rivers as subject matter, strong visual lines are accentuated by the snow-covered earth from an aerial perspective. Fauntleroy visually displaces the viewer, pushing the boundaries of realism and abstraction through compositions of positive and negative space. His photographic approach emphasizes simplicity and stability.
Fauntleroy spent the last decade taking flight over the American West to capture rivers at a critical moment in the spring. Works in this series are connected by the intentionality of photographing landscapes devoid of human interruption. Noting the transitional progressions in these remote locations, Fauntleroy expresses a deeply human desire to capture and chase the ephemerality of seasons and time.
The imagery takes something fluid yet temporary in time and space and visually grounds it for silence and reflection. Detailed Mapping, critical timing and an elevated point of view come together to form a graphic aesthetic in this contemporary study of landscapes.