Nowhere is the subtle balance of art and nature more richly demonstrated and keenly felt than in the dramatic paintings of Jacksonville, Florida native, C. Ford Riley. Highly versatile and working equally well in watercolor, oil and acrylic, Riley draws upon on-site observation and field research to weave visual tales of the outdoors. Riley has spent much of his life wandering the backwoods and byways of the South, studying the patterns of the seasons, the wildlife and their environment, maintaining journals, and documenting their habits and unique habitats. He has established a career and a loyal following from his love of the outdoors. His paintings, rich in detail and dramatic in color reflect a deeply personal relationship with the world of nature. The relationship extends far beyond the edge of the canvas as he is an ardent conservationist who rallies on behalf of Florida wildlife and habitat hard pressed by current development practices. Although he acknowledges the necessity of development, he advocates seeking a balance between the needs of man with those of nature.
Riley’s studio is located along the banks of the St. John’s River. It is nestled in the midst of four wooded acres covered with Ruella, wild azaleas, bracken, chain nettle, cinnamon and royal ferns, oak trees and magnolias. This serene backdrop serves both as a constant source of subject matter and provides Riley with inspiration. This area, along with the backwaters of Northeast Florida and his hunting properties in Georgia, keep him grounded and in touch with the land he loves to bring to life in his work.
Riley’s paintings appeal to discriminating collectors of fine art. His work has been recognized from the White House to The Florida State Capital. He has been featured in national and international art exhibits, including Ducks Unlimited, the Southeastern Wildlife Exposition, the Federal Duck Stamp Competition, and the Thomasville Plantation Wildlife Arts Festival.
Ford and his wife, Elizabeth, divide their time between their homes in Jacksonville, Florida, Thomasville, Georgia and Hammock Beach, Florida.
When I started working on my art, no one was portraying the South the way the masters had painted other parts of the country; there was no southern Winslow Homer. I spent years studying artists that painted scenes I could relate to, looking at the way they layered colors and used their palette. I took what I could from their techniques and applied them to the natural habitats that I grew up in.