Scott A. Stultz

From the 2012 Fall AACA meet at Hershey, Pennsylvania, an unrestored and unique gem (almost - it's one of two, but the other is a fully restored show car, and this is vastly preferable to my taste).

Old barns and farms were my first and remain my favorite architectural landscape subjects.

Stopping to stare and be grateful for their existence.

After many years of avoiding them, I'm working on portrait drawing. A very different world.

In the winter of 2007 - 2008, I did a series of sketchbook drawings of an old fireside chair that Tina brought with her from Philadelphia when we moved to Marietta. I go back to it from time to time when I want to draw something difficult and familiar.

Less than two miles from my house, hidden away on a quiet country road in a fold of the rolling landscape, is an old mill with once grand old house and a smaller one behind it, slowly crumbling back to the earth.

A crow, stuffed by my father, that I've had for many years but not paid much attention to briefly became an obsession.

With my wife's support and urging, I took a ten day personal retreat, staying at a remote rustic camp on a peninsula in northeastern Penobscot Bay, where we spent several memorable summer vacations with our children. I bicycled, rowed in a little dory, read books, and started drawing again. These pages are from my sketchbook that week.

The high peaks region of northern New York state's Adirondack mountains is one of my favorite places in the world. I did this group of sketches from the trail while I was staying at Adirondak Loj for ten days in the summer of 2009.

As much as I feel tempted to try my hand at carving pipes, I know that the kind of work that I'd want to do would take a tremendous amount of time and effort to create. For now, I'm enjoying the work of a few makers who I admire, and using their work in drawings when they aren't in use as smoking instruments.

Old machines, abandoned and left to crumble in the elements, or in use but staying honest about their lives as workhorses.