Where Plein Air Guitar looked outward toward the horizon, Rock Effects looks down. The perspective shifts from landscape to tabletop, trading the sweep of distance for something more introspective and psychological. Here, guitar pedals — distortion, delay, reverb, the literal tools of rock — rest on painted slabs of stone. The pun is built in: the effects of rock become rock effects. Technology collides with geology, music with matter. Each painting captures that clash, holding the ephemerality of sound against the permanence of stone, and turning performance into artifact. The surfaces themselves are formed by poured watercolor, pigment moving like water across rock — a process echoing erosion, flow, and the slow shaping of ground beneath us.