BRAZOS BEND STATE PARK

Sometimes finding exactly what you came to see turns out to be pretty unnerving.

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I’ve never understood how people with toddlers and lap dogs appear to be at ease strolling alongside alligators—file another item under mysteries of the universe. It may not look like we were that close, but given the creature’s distended stomach and extreme jawline, it certainly felt like it. Add the fact that the park’s literature boasts of this apex predator’s unique ability to survive where those at the top of other food chains have not, and I feel plenty of cause to tip toe around the sleeping giant and look for turtles instead (cue next pic).

GARDEN PARTY

Last month I started volunteering in the garden at the Houston Center for Contemporary Craft, which includes beds of recognizable sources of raw materials used in craft, such as cotton, indigo, and agave, among many others. The last time I had a regular routine at the Center was in January 2013, when my 8-month artist residency—and life in Houston—began. I can’t say I had much interest in the garden then, and the only time I spent out there was when I used it as a makeshift woodshop, pushing a belt sander on a plastic cart over to the deck so as not to grate the entire building finishing endless piles of plywood. The upside is that the plants, now that I’m really noticing them, are huge sources of surprise.

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Take this fallen banana flower petal, which I saw from afar as something squishy and red in the umbrella sedge. I braced myself for an unwanted revelation, the spilled intestines of a dearly departed creature, for example. What a relief to instead discover this perfect crimson basin and then its host waving overhead.

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This week I also had the unique opportunity to de-thorn this dried out cactus stalk so that later we’d be able to break into it and retrieve the fibers inside. The texture, I am here to report, was a lot like a Wasa crisp.

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This specimen used to stand proudly in a planter outside the building, as captured from afar in this moody sky snapshot from the last days of my residency in August 2013. I’m assuming it perished in the Plant-ocalypse hard freezes a couple of winters ago, which also wreaked havoc in my own personal cactus plot.

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Before shots of the wood oats beds ahead of the annual work party.

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Wood oats shearing in progress on a rare chilly winter morning (above) as well as the triumphant after shots of the beds.

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With at least a dozen of us working steadily to cut and segment the stalks, finished with the wood oats early enough to tackle other tasks, like cutting down the vetiver to use as mulch in other areas. To say that I’m getting an overdue education in grasses would be an understatement…

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Additional curiosities of the last weeks below. Since I know firsthand how much effort is involved in creating multiples of organic forms, I guess you might say I am easy to impress.

male pine cone releasing pollen

cotton leaf butterfly

mystery white floater in the pond

mystery white floater in the pond

ARTISTS IN ODD PLACES

The title of this post riffs on an annual public performance art festival in New York, which leapt to mind as I saw artist and friend, Elisabeth Mladenov, climb onto a counter to hang a few of her smaller works. What positions don’t we fold ourselves into for the sake of art?

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Though as an erstwhile studiomate I’ve seen these pieces before, I surprised by how many more subtle shades of blue and gold I could discern due to the soft natural light streaming through the Union’s skylights.

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More than anything, I was delighted to see my very favorite painting among those hung for her last show in Houston. Since the beginning I have only been able to see it as a tree puking (part of the appeal is certainly this edgy display of the raw power of nature, I muse), to which Elisabeth always laughs and confirms the curved, indigo swatch is in fact, a flying fish.

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MISSING PEAKS

Without the ready backdrop of Taos Mountain, what’s left to photograph? Well, this installation outside the Casa Blanca apartment building on Woodhead appears to have ballooned since the summer, or it could just be that this much leaf and flower cobbled together anywhere in winter would make my heart swell.

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This reminded me so much of the sign installed at the Wurlitzer, yet almost came as more of a surprise outside a manicured West University home. As for the chap on the right asleep in the washeteria in a Ciao t-shirt? He may very well need the support.

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ROAD HOME THROUGH MARFA

Amazingly enough, it was only when a stretch of drive through the Guadalupe Mountains National Park seemed awfully familiar that I recalled I’d spent another early December climbing the highest mountain in the state of Texas—nearly fifteen years ago to the day on my birthday. At the time I’d recently quit my library technology job in Chicago to become an intern at the Chinati Foundation, where I led tours of the collection and fantasized that I had been invited there as an artist in residence instead (never mind the fact that I had no art practice to speak of). I was ashamed to have quit a position to become an intern, but was convinced this was my only hope for experiencing a few uninterrupted months under a huge West Texas sky.

I returned for most of 2009 to work on a project at Judd Foundation when the itch for the Chihuahuan Desert resumed. This stint introduced me to two dear friends whose endurance for small town living continues to impress me. The first time I met Shelley she was attempting to warm the drafty apartment we’d share above the Judd ranch office by opening the oven door. I remember many evenings in the unheated kitchen eating in fingerless gloves, as if we were camping rather than across the street from Lance Armstrong’s proposed training outpost. (The wifi network that showed up at the same time as his moving trucks? Livestrong.)

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These days Shelley lives at and helps sail the Marfa Yacht Club, where she has her own airstream trailer. The view is much more expansive, as seen above, and I think she finds it a lot easier to keep toasty

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Sandro and I also met on the job, when I took a couple of weeks off of cataloging and indoor camping to assist on adobe construction and pitch an actual outdoor tent for shelter. Where ever he’s set up, you’ll be sure to find large jars of regional clays in an array of different colors nearby to use for plastering.

Last year when I was in town, I brought some collages and a tub of wheatpaste. While this wasn’t an the experiments I was likely to share at the time, it is one of the interventions I was readily able to locate and document on this visit. The original composition is below, which gives a sense of what a year out in the elements does to a fragment of Penelope Cruz’s chin and neck topped off by a waterfall.

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