On my travels down N. Hwy. 191to see my patients in Clifton, I always pass an entrance to the Black Hills. This area is known for fire agate rock hounding and primitive camping. Today was the day I was going to take a slight detour and a brief visit to this entrance of the Black Hills.
I decided to place the cowboy and indian icon art piece underneath the Black Hills sign at the entrance. I parked my car, carefully walked around thousands of porous rocks, tiptoed over fallen barb wire and
hop, skipped and jumped around a broken brown beer bottle. After I reached the sign, the completion of my goal was easy. Getting to and from the sign took me longer than placing, documenting and photographing #102.
The Chiricahua and western Apache indians were originally from this area. I imagine in the 1600's the Apache had no clue of what was in store for them with pending encounters with the white man. Certainly not with a conceptual artist who would place her art piece once in a place where they had stepped themselves. A metamorphosis and tribute to their existence.
Monday, July 4, 2011
5322 Highway 186, Dos Cabezas, AZ March 29, 2011
The patient/rancher in Dos Cabezas I’m off to visit raises peacocks. On and off I toy with the idea of having a male peacock at the RocknW. They are so beautiful and a novelty for the girl from Detroit, MI. However, if I’m not mistaken, they are quite noisy. Probably in the same way a rooster is. My hens are doing quite well without the rooster. I also enjoy not having to listen to a crowing rooster at all hours of the morning and through out the day. I’m sure as the few neighbors, I do have, might feel the same.
Then there’s the male peacock cooped up in a small cage at the Safford Feed Store. If someone doesn’t put out $50. for him within the next month or so - I’ll purchase him and set him free at the RocknW. He might get ate by a predator eventually but its got to be better than living a long life in that cramped cage.
If one blinks, they would miss driving through Dos Cabezas. When I didn’t blink, I noticed a red steel storage building with a windmill and a very large bell in front with a single wide mobile home set back far behind it. Underneath the red and white sign that simply displayed the word, MUSEUM, was another red and white sign, smaller, that displayed the word CLOSED.
To access the property, one had to walk through a red, wooden gate with large, red wooden wagon wheels on each side. I didn’t want to trespass on to the property so I placed, photographed and documented #101 on the hub of one of the wagon wheels. I quickly got back into my car and drove on to my patient’s home.
Who knows, maybe the museum’s owner will discover the cowboy and indian icon art piece. Maybe they will take it and put it in the museum. Maybe it’ll find a new home in the land once occupied by Cochise and his Chiricahua Apaches. Who knows!?
Then there’s the male peacock cooped up in a small cage at the Safford Feed Store. If someone doesn’t put out $50. for him within the next month or so - I’ll purchase him and set him free at the RocknW. He might get ate by a predator eventually but its got to be better than living a long life in that cramped cage.
If one blinks, they would miss driving through Dos Cabezas. When I didn’t blink, I noticed a red steel storage building with a windmill and a very large bell in front with a single wide mobile home set back far behind it. Underneath the red and white sign that simply displayed the word, MUSEUM, was another red and white sign, smaller, that displayed the word CLOSED.
To access the property, one had to walk through a red, wooden gate with large, red wooden wagon wheels on each side. I didn’t want to trespass on to the property so I placed, photographed and documented #101 on the hub of one of the wagon wheels. I quickly got back into my car and drove on to my patient’s home.
Who knows, maybe the museum’s owner will discover the cowboy and indian icon art piece. Maybe they will take it and put it in the museum. Maybe it’ll find a new home in the land once occupied by Cochise and his Chiricahua Apaches. Who knows!?
Sunday, July 3, 2011
Pima Cemetery, AZ March 31, 2011
Cowboy and Indian icon art piece #100. Since this was my 100th placement, I wanted it to be special. The perfect placement opportunity presented itself.
An assortment of veterans gathered at the Pima Cemetery on Saturday, March 26, 2011 for a grave dedication to honor the Medal of Honor recipient, Sgt. Josiah Pensyl (died in the Gila Valley on 1/22/1920). This calvary soldier, one out of 8, was awarded the Congressional Medal of Honor for the defense of a supply train from a large Apache Indian attack that lasted from 9/9/1874 to 9/14/1874. I wasn’t able to attend the ceremony due to a scheduled appointment with my farrier.
When I showed up to the cemetery the following Thursday - locating Sgt. Pensyl’s grave was a task above and beyond my navigation. I drove and drove around the cemetery. Couldn’t find his grave!
I seriously expected to find a telltale sign, after the ceremony that was held in his honor, which would direct me his grave. Nothing.
As a back-up plan, I choose to place, photograph and document #100 on the Y shaped trunk of a tree-like scrub. My thinking was placement on the trunk of the scrub would protect it from the hot, unforgiving AZ sun. Our local climate is not kind.
This historic calvary/indian confrontation is the type depicted in countless cowboy and indian films from Hollywood. Tragic but entertaining. When I attended a semester of undergrad college long ago in England, I did a presentation on the possibilities of drama to a group of grade school kids. After the presentation I took questions from my audience. One young boy’s hand shot up right into the air.
The pressing question the boy had to do with the Apache Indian. Did they bother me much? Did I ever have to shoot one? Surprised, all I could reply was "no" and "no." His freckled face looked disappointed and he went quiet.
#100 Cowboy and Indian Icon art is dedicated to Sgt. Pensyl and that little lad who asked me a question. A calvary soldier who was in an actually confrontation with the Apache and a British schoolboy who can only fantasize about what it would be like to be such a confrontation with the Apache. Memories of both that are now just echos in my imagination.
An assortment of veterans gathered at the Pima Cemetery on Saturday, March 26, 2011 for a grave dedication to honor the Medal of Honor recipient, Sgt. Josiah Pensyl (died in the Gila Valley on 1/22/1920). This calvary soldier, one out of 8, was awarded the Congressional Medal of Honor for the defense of a supply train from a large Apache Indian attack that lasted from 9/9/1874 to 9/14/1874. I wasn’t able to attend the ceremony due to a scheduled appointment with my farrier.
When I showed up to the cemetery the following Thursday - locating Sgt. Pensyl’s grave was a task above and beyond my navigation. I drove and drove around the cemetery. Couldn’t find his grave!
I seriously expected to find a telltale sign, after the ceremony that was held in his honor, which would direct me his grave. Nothing.
As a back-up plan, I choose to place, photograph and document #100 on the Y shaped trunk of a tree-like scrub. My thinking was placement on the trunk of the scrub would protect it from the hot, unforgiving AZ sun. Our local climate is not kind.
This historic calvary/indian confrontation is the type depicted in countless cowboy and indian films from Hollywood. Tragic but entertaining. When I attended a semester of undergrad college long ago in England, I did a presentation on the possibilities of drama to a group of grade school kids. After the presentation I took questions from my audience. One young boy’s hand shot up right into the air.
The pressing question the boy had to do with the Apache Indian. Did they bother me much? Did I ever have to shoot one? Surprised, all I could reply was "no" and "no." His freckled face looked disappointed and he went quiet.
#100 Cowboy and Indian Icon art is dedicated to Sgt. Pensyl and that little lad who asked me a question. A calvary soldier who was in an actually confrontation with the Apache and a British schoolboy who can only fantasize about what it would be like to be such a confrontation with the Apache. Memories of both that are now just echos in my imagination.
Sunday, June 26, 2011
931 1st Street, Thatcher, AZ March 23, 2011
Cacti represents to me Mother Nature’s organic art work in geometric forms. It’s such a treat for me to live in southern AZ where these contemporary, hardy living sculptures loom all over the arid, usually brown, landscape. In fact, I purposely drive by certain locations where magnificent, older cacti live.
My favorite is the Prickly Pear cactus. I do have a few of my contemporary paintings hanging on the wall of a restaurant in Ann Arbor, MI named specifically after this cactus. But that’s not why they’re my favorite. This cactus is made up of large, succulent oval pads which resemble a tail of a beaver’s with clusters of prickers. The pads of this cacti hold a great deal moisture. Great for person thirsty and lost in the desert. Relief from thirst with one juicy bite! The jackrabbits around my house unmercifully devour them down to the bare ground during periods of drought.
It produces a deep red fruit that is repudiated for its edible, medicinal qualities (not to mention a delicious, sweet jelly that is lovely on one’s morning toast!) The Prickly Pear cacti also blooms yearly with small peony sized, bright yellow blossoms. This is one artistic and practical plant.
Here in SE Arizona, we recently had a strange weather occurrence. The temperature went down to an uncommonly low of 9 degrees. It was only for a few days but long enough to freeze the moisture in the succulent pads of the Prickly Pear cactus. When the warm, balmy weather returned, the pads of these cacti "melted" inside. As a result of this, the majesty of the Prickly Pear cacti became unsightly bags of droopy, greenish-brown mushiness - an unknown and foreign sight on the local landscape.
The death and distorted appearance of my favorite cacti disturbed me.
The best way I knew how to deal with this loss was through art. I placed, photographed and documented #99 on fauna melt down, mound that once was a favorite towering cactus. I’ll always remember you.
My favorite is the Prickly Pear cactus. I do have a few of my contemporary paintings hanging on the wall of a restaurant in Ann Arbor, MI named specifically after this cactus. But that’s not why they’re my favorite. This cactus is made up of large, succulent oval pads which resemble a tail of a beaver’s with clusters of prickers. The pads of this cacti hold a great deal moisture. Great for person thirsty and lost in the desert. Relief from thirst with one juicy bite! The jackrabbits around my house unmercifully devour them down to the bare ground during periods of drought.
It produces a deep red fruit that is repudiated for its edible, medicinal qualities (not to mention a delicious, sweet jelly that is lovely on one’s morning toast!) The Prickly Pear cacti also blooms yearly with small peony sized, bright yellow blossoms. This is one artistic and practical plant.
Here in SE Arizona, we recently had a strange weather occurrence. The temperature went down to an uncommonly low of 9 degrees. It was only for a few days but long enough to freeze the moisture in the succulent pads of the Prickly Pear cactus. When the warm, balmy weather returned, the pads of these cacti "melted" inside. As a result of this, the majesty of the Prickly Pear cacti became unsightly bags of droopy, greenish-brown mushiness - an unknown and foreign sight on the local landscape.
The death and distorted appearance of my favorite cacti disturbed me.
The best way I knew how to deal with this loss was through art. I placed, photographed and documented #99 on fauna melt down, mound that once was a favorite towering cactus. I’ll always remember you.
Wednesday, June 22, 2011
433 Outer Loop, Clifton, AZ March 23, 2011
I was walking up a steep one lane road when I discovered it. The was no way that contraption could transport a horse. First of all, it wasn’t big enough. Shiny metal- like aluminum shaped in a capsule with minimum wooden sides to hold it all up. The floor of it was littered with dirt, smashed, rusty soda cans and brown, crispy foliage.
My patient and her family lived halfway to the top of this one car lane. There was no room for my car so I parked it at the bottom of the lane and hiked up. Not far from this hillside, I passed an enclave of Big Horn Sheep. I thought that they were a herd of goats that got out of their pen. When I got closer to them, I saw the horns and knew they weren’t goats! Even though they seemed a bit on the tame side, I didn’t walk up any closer to them. I took a quick photo with my camera and continued on to my final destination. The mild sun rays made the journey very pleasant.
Then I walked up upon the trailer. How I knew that it was originally made to transport an animal was due to the fact that it had an open rectangle cut out in the front. The style was a mini version of my horse trailer - only primitive and rugged. A goat, foal or a calf could comfortably fit into this mode of transport.
I placed, photographed and documented #98 on one the trailer’s bumpers. Both tires were flat. My cowboy and indian art had found a home on a vehicle with a journey to nowhere.
My patient and her family lived halfway to the top of this one car lane. There was no room for my car so I parked it at the bottom of the lane and hiked up. Not far from this hillside, I passed an enclave of Big Horn Sheep. I thought that they were a herd of goats that got out of their pen. When I got closer to them, I saw the horns and knew they weren’t goats! Even though they seemed a bit on the tame side, I didn’t walk up any closer to them. I took a quick photo with my camera and continued on to my final destination. The mild sun rays made the journey very pleasant.
Then I walked up upon the trailer. How I knew that it was originally made to transport an animal was due to the fact that it had an open rectangle cut out in the front. The style was a mini version of my horse trailer - only primitive and rugged. A goat, foal or a calf could comfortably fit into this mode of transport.
I placed, photographed and documented #98 on one the trailer’s bumpers. Both tires were flat. My cowboy and indian art had found a home on a vehicle with a journey to nowhere.
Saturday, June 18, 2011
15692 Park Lane, Ft. Thomas, AZ March 16, 2011
Ft. Thomas is an Latino/Anglo/Apache community east of the San Carlos/Bylas reservation big enough to have a school and police/fire department. There is no longer a fort here. In 1876, a military post was established here during the Indian wars. By 1874, General Crooks had brought hostile Apaches on to the local reservation. In 1886, Ft. Thomas military post had served its purpose when General Miles made a bold move and shipped all the Chiricahua Apaches to reservation in Florida.
My purpose today in Ft. Thomas was to a Latino, war vet, patient who was struggling with the unwelcomed side effects of his diabetes. He was facing the amputation of part of his leg. We talked about the possible amputation for a long time. The man shared with me having to cope with other adversities in his life such as serving in country in Vietnam and the violent death of his son a few years back. I asked him, "What helps you cope with your life’s tragedies?" Smiling, he told me it was the love and care from his Apache wife that keeps his life worth living - no matter what. His wife seemed able to maintain a positive attitude through tragedy and loss. She wasn’t at the house with us because she had a funeral to attend today on the San Carlos reservation. It saddened me that I didn’t have an opportunity to meet her.
After I left his house, while driving back to the hospital, I came across a charming dead end street, Park Lane. Across from the fire station and the small vets’ memorial, I discovered 15692. It was an abandoned charming, cement block house with a kitchen stove, covered by a huge fallen pine tree, on the front porch.
After making my way through pine branches, I placed, photographed and documented #93 on the stove. It was in tribute to the man I had just left. A tribute celebrating his wonderful relationship with his wife. A love that even massive fallen pine tree couldn’t put asunder.
They have the love of a lifetime. A love I envy and someday hope for myself. A love that’s real - crossing even cultural backgrounds, dashed dreams and poor health. With or without, the "death due us part." Thank God for hope and possiblity. Amen!
My purpose today in Ft. Thomas was to a Latino, war vet, patient who was struggling with the unwelcomed side effects of his diabetes. He was facing the amputation of part of his leg. We talked about the possible amputation for a long time. The man shared with me having to cope with other adversities in his life such as serving in country in Vietnam and the violent death of his son a few years back. I asked him, "What helps you cope with your life’s tragedies?" Smiling, he told me it was the love and care from his Apache wife that keeps his life worth living - no matter what. His wife seemed able to maintain a positive attitude through tragedy and loss. She wasn’t at the house with us because she had a funeral to attend today on the San Carlos reservation. It saddened me that I didn’t have an opportunity to meet her.
After I left his house, while driving back to the hospital, I came across a charming dead end street, Park Lane. Across from the fire station and the small vets’ memorial, I discovered 15692. It was an abandoned charming, cement block house with a kitchen stove, covered by a huge fallen pine tree, on the front porch.
After making my way through pine branches, I placed, photographed and documented #93 on the stove. It was in tribute to the man I had just left. A tribute celebrating his wonderful relationship with his wife. A love that even massive fallen pine tree couldn’t put asunder.
They have the love of a lifetime. A love I envy and someday hope for myself. A love that’s real - crossing even cultural backgrounds, dashed dreams and poor health. With or without, the "death due us part." Thank God for hope and possiblity. Amen!
Cluff Ranch Wildlife Refuge. Graham County. March 16, 2011
It’s not unusual to see road signs riddled with bullet holes along the caramel, sandy road that wraps itself around the wildlife refuge. Using road signs for target practice on county back roads is a way of life around here. Just the way it is and always will be.
I was on my way back to the hospital from a patient’s house. A very sad, elderly man who lives in a mansion - furnished with rare and beautiful objects from Europe. He has a few bullet holes around his house. No, not target practice. He shot a guns off in his house in a misguided attempt to kill the emotional pain that stalks him, room to room, in a house that will never echo the laughter of the woman he loved.
I stopped by the side of the road at an information billboard that listed the rules of the refuge and such. It was shaded by its own wooden roof. After stopping my car, I walked over to examine the information board closer. Kicked a few spent red gun shot shells out of my path. I placed, photographed and documented #92 on a wooden beam that supported the roof. This art piece had its own refuge now out in the wild, wild west. A refuge where it can witness the pulse of life out here without any haunting memories.
I was on my way back to the hospital from a patient’s house. A very sad, elderly man who lives in a mansion - furnished with rare and beautiful objects from Europe. He has a few bullet holes around his house. No, not target practice. He shot a guns off in his house in a misguided attempt to kill the emotional pain that stalks him, room to room, in a house that will never echo the laughter of the woman he loved.
I stopped by the side of the road at an information billboard that listed the rules of the refuge and such. It was shaded by its own wooden roof. After stopping my car, I walked over to examine the information board closer. Kicked a few spent red gun shot shells out of my path. I placed, photographed and documented #92 on a wooden beam that supported the roof. This art piece had its own refuge now out in the wild, wild west. A refuge where it can witness the pulse of life out here without any haunting memories.
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