Between 1915 and 1917 the Russian composer, Sergei Prokofiev wrote a series of twenty piano pieces. While playing them for a gathering of friends, the poet Konstantin Balmont wrote a sonnet which entitled Mimolyotnosti which Kira Nikolayevna would translate as Visions fugitives. Inspired by these dazzling miniatures, I have assembled a jewel box containing twenty individual felt-tip drawings on watercolor paper

capturing fugitive visions of Taos and Santa Fe, New Mexico.

Few places in the world have such a deeply rooted relationship between the natural and the man-made. Towering above Taos are the Sangre de Cristo Mountains,

home to many Native American peoples, casting a mystical shadow on the ancient settlement below. A ghost of an earlier time, the Taos Pueblo provides a glimpse of Pre-Columbian life in North America. Like Taos, Santa Fe is also a place of ancient and modern myth. In Santa Fe, the Spanish and the Native traditions come together. At the turn of the 20th Century, a Portuguese American painter, Carlos Vierra, passionately pursued the safeguarding and preservation of the regional architecture of the area and the revival of this tradition. Vierra's modest but evocative paintings of many of the iconic pieces from Pueblo's past evoke Georgia O'Keeffe and Taos and a unique moment in which American Regionalism stood as an alternative to the Eurocentric modernist architecture of the International Style.

1915年至1917年间，俄罗斯作曲家谢尔盖·普罗科菲耶夫（Sergei Prokofiev）写了20首系列钢琴曲。诗人康斯坦丁·巴尔蒙（Konstantin Balmont）在一次朋友聚会上演奏这些作品时，写了一首十四行诗，题为《Mimolyotnosti》，基拉·尼古拉耶夫娜（Kira Nikolayevna）将其翻译为《瞬息幻影》。受这些令人赞叹的小曲的启发，我组装了一个珠宝盒，里面有20张用毡尖笔画的水彩画，捕捉到了陶斯和圣菲的瞬息幻影。

世界上很少有地方能在自然和人工之间建立起如此根深蒂固的关系。耸立在陶斯上空的桑格瑞-德克里斯托山是许多美国原住民的家园，为山下的古老房屋投下了神秘的阴影。陶斯普韦布洛是一个古早时代的村庄，在那里能感受到哥伦布发现美洲大陆前的生活。与陶斯一样，圣菲也是一个充满古代和现代神话的地方。在圣菲，西班牙和原住民的传统相结合。在20世纪之交，一位葡萄牙裔美国画家卡洛斯·维拉（Carlos Vierra）热情地追求保护和保存该地区的区域建筑，并恢复这一传统。维埃拉的画作中有许多普韦布洛过去的标志性作品，这些作品让人想起了乔治亚·奥基夫（Georgia O'Keeffe）和陶斯，以及美国地区主义成为国际风格的欧洲现代主义建筑的另一种选择。