By August, spring-green grasses are baked into crisp tawny stalks, sharing the land with serrated hilltops of inky-black rocks and cactus the color of rotund green olives – all under the oceanic vault of sky: these are the colors of the desert. The two blood-red splotches are wrong. A heart, a football helmet, both cut from plywood then bolted to a metal u-shaped post, shimmer crimson with WE LOVE
YOU OMAR painted on the heart. To the right and slightly behind, picket-fence ends of a white wooden cross puncture the scorched air. At the base of the cross, stones square enough to have been a wall, and this: broken taillight lenses, a snaky length of weatherstripping, a piece of shattered windshield held together by safety laminate as glittery as leaded glass, all placed carefully, as if to both reject and reassemble loss. One sun-faded bouquet is wired to the cross and another one straggles
one fabric rose,
another one, then the rest,
down the slopetoward the road’s fatal curve. EUMAR GUILLEN DIED DEC 11 1992 wanders unevenly across the marker, scratched with a hand shaken by death’s bold move. State Highway 166 Jeff Davis County, Texas
This link goes to my current project of digitally manipulated images.
This link will take you to my new project for 2009 - a new black and white image every day of the year.
Artist's Statement
I was ten, maybe, or eleven the summer my family took a long vacation to Mexico, driving from the Texas Panhandle all the way to Acapulco.
Our bible for the trip was the Sanborn's guide, provided by the company that sold Mexican car insurance to Americans. The manual outlines, kilometer by kilometer, things to see, to avoid, to eat along the way. We read the guide religiously, never questioning its pronouncements, always following its recommendations.
So it must have been noted in the guide's goldenrod yellow pages that atop a hill in the arid northern region was a roadside shrine. And it must have mentioned a small amount of parking, and it must have encouraged a stop.
The shrine was inside a cave, big enough to hold three or four people, tall enough so they could stand up. The show of such overt faith took my breath away: votive candles in little ruby-colored holders, smoky ceilings, velvet kneelers, some virgins, bloody Jesus on a cross. Forrest Heights Methodist Church had not given me the impression that either religion or loss could be so colorful.
But something took root in my brain...where it took four more decades to sprout.
I have no other answer. I stop at roadside crosses. I photograph them, and let the message in each one reveal itself to me through images and words.
One of my earliest memories is of my parents staying up late to process slides in the kitchen. I can still remember the first photograph I took - of a rock, with a mountain in the background. In college, I was almost positive I was going to be the next Ansel Adams.
All of which has led me here.
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