The House of One Hundred Years of Solitude

In mid August, I headed down to Cuernavaca, Mexico, to visit with my old friend Marela Zacarias.  Marela grew up around Mexico City but currently resides in New York City; she was on a trip to visit family and I was invited to tag along.  The house we stayed at has been in her family for generations.  This beautiful compound is a bit like Marquez’s House of a Hundred Years of Solitude.  It is built on a large sloping hillside that is terraced and ends in a deep barranca below.  Each level accommodates different areas including gardens, swings, walkways, and swimming pools, all in various states of repair.

There is a special magic to a place like this, a place where there are echoes of parties long since past, children grown up, and a future yet to come.  One can imagine golden era Hollywood starlets, flirting under the canopy of lush trees, limbs embracing each other like lovers. If you listen carefully you can hear the sounds of children squealing in delight as they dash down the waterslide, crashing into the grotto like swimming pool.  Here and there are the shadows of gardens being taken back by the jungle, gardens that must have grown abundant tropical flowers.  The past is present, but there is also a great deal of promise, as slowly the structures are being reinforced against a climate that loves to decay anything in its grasp.  Who knows what mysteries will unfold or what tails of love will transpire.

On a trip to the local artisans market, I purchased a small handmade, papier-mâché tiger mask.  As I have previously discussed, I am trying to incorporate some different costumes and props into my images.  One of the things I have always liked about working with long exposures is the anonymity, as my face is usually blurred and unrecognizable.  I think that this allows my viewers to place themselves into the images.  Now that I am fequently working in full daylight, using my neutral density filter, I find that I am more recognizable and a masking is a great solution.  In the past, I created a lot of images dealing with issues of masking, whether through makeup, costumes or just personal identity.  I feel like this is an interesting integration between work that is old and new.

Yellowstone National Park

After the council of The 13 Grandmothers, my friend Terra Celeste and I went to Yellowstone National Park for the first full moon in August. Upon leaving Grandmother Margaret’s home, we were asked to take an offering to the Medicine Wheel in eastern Wyoming.  This location is one of the oldest sacred spots in North America and may have been built over 10,000 years ago.  Different indigenous tribes have been coming and doing sacred ceremonies there for so long, no one is exactly sure who built it in the first place. The meeting of the Grandmothers was a very intense experience, and it was really nice to complete the ceremony at the Medicine Wheel, with an offering of tobacco and prayers.

As we continued our journey, through the park to the town of West Yellowstone, we saw an owl, a pair of coyotes, and a buffalo, all wandering in the middle of the road.  After arriving, we had quick dinner, checked into our hotel, and headed back into the park to see how geysers and thermal water look under a full moon.  August in Yellowstone is high season, and you can expect throngs of tourists unless you head out in the middle of the night.  With the exception of a few other photographers, we had the place to ourselves.  If Yellowstone is a magical place by day, it is far more amazing by full moon.  As we walked around the geysers, moist steam rolled off the thermal pools and punctuated the chilly air; intermittently enveloping us in shifting clouds of blinding, white, warmth.

Over the next two nights, we shot for several hours in the park and came up with some really nice new images.  I would love to return to Yellowstone, as I feel like there is so much more we could have done.  I love the color and texture in the park, from the vibrant blues of a full moon sky to the rainbow colors of the pools.  Although, I think they do work in most of these shots, one of the hardest things about shooting in the park are the walkways.  It was a real challenge to either incorporate them, or to hide them in the images.  Regardless, I am very happy with what happened during this shoot.  I think that a few of these photos really need to be viewed big, so please click on them to enlarge.

The Thirteen Grandmothers

This summer I was invited by my friend Terra Celeste to attend the 11th council of the Thirteen Grandmothers.  I had no idea what I was getting myself into by attending this gathering, and in a lot of ways the repercussions of this event may directly affect my life for the next several years.  The thirteen grandmothers are indigenous women from different cultures around the world.  They are on a mission to pray in their own individual and collective ceremonial ways in order to bring peace, and balance back to the universe.  Although these women are often confined to walkers and wheelchairs, make no mistake; they are possibly the most powerful group of women I have ever encountered.

The Council was held on the Lame Deer Cheyenne reservation in eastern Montana.  Cheyenne grandmother Margaret Behan hosted this gathering.  Originally, three hundred participants were expected, but over the course of the four-day encampment, over seven hundred arrived from around the world.  I, like many others, did not know what to expect but the importance of this council was quickly evident, especially in regard to the Cheyenne people.

Initially, the event was to be held at Grandmother Margaret’s house.  After a forest fire came within a few hundred feet of her property only days before the opening, the gathering was moved to the local public powwow grounds, a move that proved to be quite fateful.  Although, the grandmothers are on a peace mission, change often comes with great resistance. After only a short time on the reservation, I was given a crash course in tribal politics.  Basically, it is tradition for the elder men to speak and hold council, and although women are generally free to express their opinions, they do not make important tribal decisions or hold councils of their own.

By bringing the grandmothers to the reservation, Margaret was going against thousands of years of tradition and was met with physical and psychological opposition.  A group of militant young men came onto the powwow grounds before the event and threatened cause problems if the grandmothers did not cease and desist.  This clearly shook up everyone involved and after a meeting between the grandmothers that lasted into the wee hours of the night, they decided to proceed.  Thankfully they did, because this may have been one of the most important events held in recent Cheyenne history.

As the days progressed, the grandmothers prayed, and began telling their stores, both personal and historical.  They told of war, oppression, massacre, marginalization, and the loss of land, food, water and children, they mourned the loss of old traditions and ways of living.  Many white people also came forward with stores of their own, including the great grandniece of General Custer, who asked forgiveness for her family’s roll in oppressing and murdering the Cheyenne people.  Slowly, the men started to come around, to hear the stories, and witness the healing the grandmothers were offering.  By the end of the gathering, many of the tribal chiefs had don their feather headdresses and welcomed the grandmothers, thanking them for taking action and opening their eyes to the possibilities of a new future.

So much happened while I was at this event I cannot begin to summarize everything in this brief blog.  Suffice to say, I saw a wild wolf, ran out into a lightning storm, witnessed a crowd react to a tiny ancient Nepali woman the way one would expect from a revival church, slept in a tipi, and made a promise I intend to keep.  In our final meeting, Grandmother Margaret asked me to return to the reservation and hold a photography workshop for the local kids.  I am just starting to work out the details of this agreement which involves a lot of research, grant writing, and planning, but hopefully by next summer I will be able to fulfill my commitment to Grandmother Margaret.

Ghost Horses

Sometimes good ideas really do come like bolts of lightning.  In early June, I went to my best friend and co-collaborator, Aloyse Blair’s, bachelorette party.  We all flew out to Colorado for the Telluride Bluegrass Festival, where her sister Cecie, had rented a mansion on the ski hill serviced by private cars and a gondola.  Aloyse and I had gone to Bluegrass several times when we were in our late teens and this was such a wonderful opportunity to go back.

We spent four days dancing, drinking, and having an incredible time with thirteen of the most wonderful girls on the planet.  One day, while getting beers at the festival, it suddenly, with no warning, dawned on me that I should take photos with our horses.  Although it might seem obvious, given that my family lives on a horse ranch, it had actually never even crossed my mind.  Long exposure horses: “ghost horses.”  When I got home from the festival, I told my mom who just laughed and said that she had been wondering when I would figure it out.

A few weeks later, after getting back from Montana, while I was taking my workshop at Anderson Ranch, I decided to start experimenting.  I took my mom on a moonless night, and headed out into the field to meet my two elected models, George and Stoli.  I had to have help with this shoot because the horses were really excited to have company and would have clearly knocked the tripod over.  We used a few small lights to illuminate the horses from the front while I did my best not to get trampled.

As per my workshop, I tried to stay close to the camera and tell a story, to bring on the theater.  One of the other exercises from the workshop was to choose the title for the image before it was made.  The title of the first image below (and my favorite) is, “This Time She Came Prepared,” or as Arno nicknamed it, “George the Fire Eating Horse.”  I am really happy with this work and I can’t wait to keep experimenting with horses in the future.

Finding My Vision

This summer, I was fortunate enough to be able to attend a photography workshop at The Anderson Ranch in Snowmass, Colorado. The workshop was called “Finding Your Vision,” and was co-led by Arno Minkkinen: prolific self-portrait photographer, and Jonathan Singer: technical genius extraordinaire.  Having these two team-up was really wonderful, as Arno is a master teacher and conceptual thinker, and Jonathan has an ability with Photoshop and printing beyond compare (as well as a brilliant mind).

Our class was comprised of twelve students whom have varying levels of experience.  As one of the more advanced students, I was really happy to find that the experience level of the others hindered no one in the class.  We all got our time, and we all had the opportunity to learn and grow as photographers (even though a week is a very short time to get anything accomplished).

If you have read some of my previous posts, you may have noticed the growing frustration I have had with my work.  I have been feeling a bit stuck, like my work is not maturing or developing.  It was for this reason I decided to take a workshop.  After sharing some of my images with the class, I was given a private meeting with Arno in which to discuss possible new directions.

Arno himself is quite a poet, and his critiques are certainly an extension of this philosophy.  I find Arno’s style of teaching really helpful for my creative thought process, as it leaves me loads of room in which to learn and explore.  Out of our discussion came this: most of my previous work was either performance art or opera, and now it was time to give the viewer front row seats to the theater!  This means that rather than feeling like the viewer has stumbled upon a performance, or is witnessing a spectacle so large he can only marvel, he is there with you, invited.  Up close and personal.

I can’t say that I have firmly grasped and embraced this in my work yet, but I do feel like it is slowly drawing me somewhere I was not before the workshop.  Yes, I still do opera and performances, but I am also trying to get closer to the camera, to sit in the discomfort of the situation, and to move the work into new realms.  I am excited to see where this takes me over the next year.

One of the new elements added to my work during this period, was finally using my 10 f-stop neutral density filter. This allows me to take long exposure photos during the day.  After years of only working at night, it opens up a lot of time to shoot and practice.  The filter also mimics the conditions I have in full-moon light and forces me to work through some of the issues I have found so troubling.  Since the workshop I have been using this filter a lot, and I am thrilled with the outcome of some of my newest images.

But rather than jump ahead, I am going to show you a few of the images that came out of this workshop, leaving the “ghost horse” series for the next post, as it deserves attention all its own.  Keep in mind that each image was part of a particular assignment so they may feel quite different from the work you have previously associated with this blog.

For more info on Arno Minkkinen: http://www.arno-rafael-minkkinen.com/

For more info on Jonathan Singer: https://www.facebook.com/pages/Singer-Editions-LLC/116575908398381

For more info on The Anderson Ranch: http://www.andersonranch.org/