ALVIN GILL-TAPIA

Cerro Gordo

Cerro Gordo - just off Canyon Road in Santa Fe, NM

Northern New Mexico Bell Tower

SILVER LEAF AND ACRYLIC ON PANEL

32 INCHES X 42 INCHES

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Full Moon At The Terraza

San Francisco - Taos, NM

Painting at the San Francisco in Taos - always makes for a beautiful afternoon.

New Mexico Filly

Sacred Found

Ranchos de Taos

Meem's I

GOLD LEAF AND ACRYLIC ON PANEL

32 INCHES X 42 INCHES

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SANTA MARIA DE LA PAZ

ACRYLIC ON PANEL

18 INCHES X 18 INCHES

ACOMA BELL TOWER

ACRYLIC ON PANEL

36 INCHES X 36 INCHES

SANTA CRUZ DEL CANADA

SILVER LEAF AND ACRYLIC ON PANEL

36 INCHES X 36 INCHES

SAN MIGUEL - BACK

ACRYLIC ON PANEL

36 INCHES X 36 INCHES

SAN MIGUEL

GOLD LEAF AND ACRYLIC ON PANEL

50 INCHES X 50 INCHES

GUADALUPE DE SANTA FE

COPPER LEAF AND ACRYLIC ON PANEL

50 INCHES X 50 INCHES

ZUNI - SAINT ANTHONY

GOLD LEAF AND ACRYLIC ON PANEL

38 INCHES X 38 INCHES

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SAN ESTEBAN DEL REY - ACOMA

ACRYLIC ON PANEL

52 INCHES X 52 INCHES

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SAN PEDRO - ABIQUIU

SILVER LEAF AND ACRYLIC ON PANEL

60 INCHES X 60 INCHES

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ABIQUIU RUINS

ACRYLIC ON PANEL

38 INCHES X 38 INCHES

MORADA AT ABIQUIU

ACRYLIC ON PANEL

50 INCHES X 50 INCHES

NORTHERN NEW MEXICO ADOBE

SILVER LEAF AND ACRYLIC ON PANEL

52 INCHES X 52 INCHES

Ranchos Taos

ACRYLIC ON PANEL

12 INCHES X 12 INCHES

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Back to PAINTINGS

Northern New Mexico Bell Tower

Full Moon At The Terraza

San Francisco - Taos, NM

New Mexico Filly

Ranchos de Taos

SANTA MARIA DE LA PAZ

ACOMA BELL TOWER

SANTA CRUZ DEL CANADA

SAN MIGUEL - BACK

GUADALUPE DE SANTA FE

ZUNI - SAINT ANTHONY

SAN ESTEBAN DEL REY - ACOMA

SAN PEDRO - ABIQUIU

MORADA AT ABIQUIU

NORTHERN NEW MEXICO ADOBE

Alvin Gill-Tapia is a contemporary painter whose work is deeply rooted in the cultural, architectural, and familial traditions of northern New Mexico. A native of Santa Fe and a descendant of generations of New Mexican settlers—often described as being part of an extended, multigenerational lineage connected to the region—Gill-Tapia’s identity is inseparable from the land and communities that have shaped his perspective.

His paintings are best known for their striking, minimalist interpretations of Pueblo and adobe architecture. Using bold color fields and simplified geometric forms, he distills historic churches, mission buildings, and communal structures into their essential visual elements. Rather than focusing on intricate detail, Gill-Tapia emphasizes mood, light, and presence—capturing the quiet monumentality and spiritual resonance of these spaces. Many of his works incorporate gold, silver, or copper leaf, creating luminous surfaces that echo the intensity of the New Mexican sun and the sacred quality of the structures themselves.

Central to his practice is a profound respect for heritage. The buildings he paints are not solely architectural subjects; they are symbols of continuity, community, and cultural memory—places where generations have gathered for worship, celebration, and daily life. His connection to this history is personal: his family has lived in the region for generations, and he continues to reside and work on land tied to that lineage.

Gill-Tapia’s work ultimately functions as both homage and preservation. By translating centuries-old New Mexican traditions into a contemporary visual language, he bridges past and present—honoring an enduring cultural heritage while reimagining it for modern audiences.