A Fine Art Opportunity

It only comes once a year– about forty professional artists with regional, national, and international renown, gather at the elegant Cana Ballroom in Boerne, Texas to show collectors and lovers of the arts what they have been creating over the past year. Next weekend, October 16 through 20, the 11th annual Texas Hill Country Invitational will be hosting these artists in the region's most prestigious art show and sale. These artists will be exhibiting works in the media of oils, pastels, acrylics, water colors, photography, bronze, stone, glass, ceramics and jewels. And attendance at any of the events is open and free to the public. 

Many of the artists from last year are returning, but you can also look forward to some "new blood." Dawn del Alamo, a glass artist, and Pam Ameduri, working in mixed 3D media, will be new additions as well as others. Widely known sculptors, John Bennett (2010 Texas State Artist) and Linda Sioux Henley (whose life-size bronze  work appears on the Texas Capitol grounds), will be part of the returning crew. And I will be there showing my own work in fine art panoramic photography. 

For several years now, the THCI has been a highlight of my art-showing year. The atmosphere is electric, the conversation rich, and the art exquisite. On top of these things, this year (and last) the setting has been the elegant Cana Ballroom. This is a true jewel of the Hill Country: a wonderful and spacious art-friendly environment, situated atop the highest hill in Boerne, with a sweeping view of the Hill Country through the northern exposure of a wall of glass. It is a special time to be surrounded by so many superb works of art, while immersed in the natural beauty of the Hill Country. 

The show's events begin with the en plein aire "Paint Out" on Wednesday and Thursday. This event is recognized this year by the prestigious Oil Painters of America, and will host numerous painters creating works in the great outdoors in locations all over Boerne. If you have never checked out a "Paint Out" such as this you will find it an intensely interesting opportunity to watch accomplished artists produce a work of art before your eyes. You can talk to them while they work and ask them about their techniques, philosophy of art, etc. All works produced during this event will be available at a silent auction held at the show's Preview event on Friday. Part of the proceeds of the auction will go to public art in Boerne. 

On Friday, Oct 18, from 7 to 9 pm, the THCI show and sale actually commences with its Reception and Preview. This will be your first opportunity to see the forty featured artists' work and reserve your favorite piece, before some other art-lover "steals" it! The evening will also feature complimentary food, beverages, and live music. At 8:30 the "Best" awards will be presented. This will also be your opportunity to participate in the silent auction of the paintings produced during the "Paint Out." 

On Saturday, October 19, art show and sale hours will be from 10 am – 8pm, and will include a slate of demonstrations and art lectures throughout the day. These demos and lectures were quite a hit during last year's show, with many artists giving considerable insight into how and why they produce their art. Beverage and food trucks will be outside the Ballroom during the day.    

Sunday, October 20, wraps the show up with your final opportunity to view (and buy!) these wonderful works, from noon – 3 pm. 

Do yourself a favor and take the time next weekend to head to Boerne and experience all that the Texas Hill Country Invitational has to offer. 

PS– if you are interested in staying overnight, special hotel rates are available at Fairfield Inn & Suites by Marriott and Americas Best Value Inn— just use the code word "ART" when you call.

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LAVENDER SHADOWS

A few years ago an opportunity made itself known to me to participate in Blanco's "Lavender Festival." A fine art show was attached to the festival and I had been invited to show my work there. The Lavender Festival is usually scheduled for the first weekend in June and is a veritable smorgasbord of lavender-based creations– pastries, candies, sachets, paintings, even wine– any and all things created, with lavender as the common ingredient.

There were crowds of folks as I showed my art that weekend, and Blanco's town square was ebullient. The show was fairly successful for me, and the pieces I displayed were enjoyed and appreciated by many, even those not buying. During a fairly quiet moment in my booth, however, an older lady scrutinized my work but said nothing for quite some time. Finally, she broke the uncomfortable silence: "Hmmmmm...I really like your work, BUT..."

I walked up to her and tried to understand her intentions: "Yes, can I help you? I heard a 'BUT.' Is there a problem?" She responded: "Yes, there IS a problem. I love your work, Bill...BUT...where are your LAVENDER PHOTOGRAPHS?"

With some trepidation, I tried to respond: "Yeah, yeah, I know...this is a 'Lavender Festival' and I have no photographs of lavender. I'd like to have some, but I've never had the opportunity to take any."

"Well, I'll tell you what...I've got a small, private lavender farm just outside of downtown. Here are the security codes to both of the gates that will let you in. Come anytime you'd like and take some photographs. You needn't stop and ask first, or even call ahead. But take some lavender photographs...PLEASE!"

LAVENDER SHADOWS, © Bill Brockmeier, all rights reserved by the artist

About a week later, I and a photographer friend who had recently moved to the Blanco area took up Alice Coverly on her more than generous offer and sought out her farm. The security codes worked as advertised and we soon found ourselves alone and surrounded by her five or so acres of lavender bushes. The light breeze was heavy with the perfume, and the shadows were already lengthening with the sun dropping toward the horizon.

The place seemed an astounding fusion of French Provence and Texas Hill Country– the smell and color of France and the vistas of the Hill Country. Perhaps South Texas is not really that far from southeastern France after all.

The next June at the following "Lavender Festival" I was again showing my work to those seeking lavender in Blanco. This time I was heavily armed with my own lavender offerings. The image you see here– LAVENDER SHADOWS (a very limited edition of only 12 on large canvas)– was made as the sun nearly kissed the horizon. Some of the lush, blooming plants had already been immersed in shadow while others were still in the blaze of sunlight.

As I have shown the two photographs from this series, many have made it plain to me that they believe the photographs are paintings. I've tried to assure them that "No, these are not paintings, but photographs." Some have remained unconvinced, and swear that I must have at least applied some little dabs of paint to some of the blooms to make them stand out and appear 3D. Although I use no digital enhancement to the colors or otherwise, they still find it difficult to believe these are simply straight photographs.

Thanks to a friend of the arts, and a lover of lavender, I was able to make some memorable images of this wonderful plant. Thank you, Alice!

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This photograph is available in a Very Limited Edition of only twelve copies. The full, framed size is 19 by 62 inches.    Call now to reserve yours— 210-241-6132.

Celebrate Art In Her Garden

IN THE AVENUE OF GIANTS,
© 2007, Bill Brockmeier,
all rights reserved by the artist

You never know where opportunities may come from. I was recently the beneficiary of such when an acquaintance I hadn't spoken with in years unexpectedly contacted me. Sherry Disdier, bonsai artist and long time proprietor of the Bonsai Arbor, emailed me about the possibility of my participating in a La Villita photographic exhibit scheduled to synchronize with Fotoseptiembre USA®, International Photography Festival. Since I had no other shows scheduled for my work during the month of September, I jumped at the chance.

I first met Sherry several years ago when she graciously consented to be one of my subjects in a project I was pursuing at the time that I called a "Celebration of Art in the Garden" (incidentally, this project as well became a Fotoseptiembre® exhibition). This series of panoramic portraits explored the pursuit of arts– in its widely divergent manifestations– in the context of gardens (in their own widely divergent manifestations as well). My portrait of Sherry was a vertically oriented panorama that focused on a relative closeup of Sherry's hands as she worked on a bonsai in her backyard "garden studio." While most of my other photographs in the series merely used a garden as the setting for the pursuit of some otherwise out-of-context artistry, Sherry's art was intrinsically and intimately woven into the very substance of the garden around her. I was blessed to have such a significant and deeply relevant subject for my series.

Sherry's Bonsai Arbor is one of, if not perhaps THE, longest art tenant of San Antonio's oldest art district, "La Villita." She has offered her simply amazing bonsai works, and other art objects, in her La Villita shop for the most of three decades in the historic San Martin/Herrera House #5 along Guadalupe Walk. This coming Sunday (September 22) I will be presenting there one of the largest groupings of my work that I have shown publicly in quite some time. The works I will be showing are nearly all produced in large scale on archival canvas, and whose subjects range from the timeless San Antonio Missions, to the lavender fields of Blanco Texas, to trees of the Hill Country, and beyond.

The Bonsai Arbor is located at 418 Villita Street, Suite 500, near downtown San Antonio (78205). The shop is very near the corner of Villita and South Presa Street (convenient parking is just across South Presa, less than 100 feet away!). The full hours of the show will be about 10am to about 6pm with an "open house" from 12 noon til 4pm. Please check the map for detailed directions.

The La Villita neighborhood itself is an amazing amalgamation of people, art, architecture, history, events, and so much more. Read about its fascinating history.

Come down to La Villita this Sunday and see me and my art...and enjoy the ambiance of one of the unique neighborhoods of San Antonio. And while you're at it, you can try a sample of my "2012 Faccia Del Sole," Hatch chile sherry— while it lasts. This wine that I produced last year is just beginning to come into maturity and is more than I ever imagined it would be. I'll see you there...

All Is Not As It Seems

The tag-line/motto that I use conspicuously here on this blog claims that the core reality of photography lies at the interaction of light and matter, the intersection of energy and mass. I have been thinking about this recently in relation to how physical and biological systems detect light. 

I mentioned previously here that I had been reading about the Stiles-Crawford effect and in doing so came across detailed descriptions of the infinitesimal workings of the light-sensitive cells– the cones and rods– of the human eye. Within these cells are contained micro-miniature energy conversion plants, material manufacturing facilities, and supply transportation pipelines. And below it all is an incredibly intelligent organization scheme, or command structure, which keeps it all running smoothly and efficiently. 

The functional regime which I casually referred to as an "energy conversion plant" is what is directly responsible for the all-important light sensitive aspects of the eye. As photons from the external world flood into the eye they are organized and redirected into the formation of a replica image on the retinal surface at the back of the eye. This retina, which some liken to the film in an old-school camera, is the organ of the eye which is responsible for taking these tiny packets of light energy and transforming them in a near-miraculous manner into electro-chemical energy signals that are sent to the brain for further transformation and analysis. 

Embedded in the retinal tissue are the light sensitive organelles themselves: the rod and cone cells. Within these tiny electro-optical instruments are organic dye materials, the molecules of which are stacked disk-like in the rod cells as if they were columns of Necco wafers and in the cone cells like leaves that are being dried as they lie interleaved in the pages of a thick book. The electro-chemical bonds of these stacks of dye molecules become excited as they absorb the incoming photons and their energy. The photons themselves die and are no more, while the dye molecules'  new-found energy is passed along the length of the cell, becoming the electronic signal that can be passed to outside systems. The signal continues along the electro-chemical pathway that comprises the whole of the optic nerve and into the brain itself.

NECCO Wafers, © New England Confectionery Company (NECCO)

What provoked my thoughts in all this is the commonly heard analogy of eye and camera. How often it is said that "the eye is like a camera, with its lens, iris, dark chamber (camera obscura), and light sensitive film at the back"– as if the camera were the foundational and superior system. We reason that a modern camera, with all of its incredible complexity, inter-working systems and subtle design, must be the pinnacle of imaging systems and data management, and think the eye to be a mere semblance of such obvious engineering excellence. 

But as it turns out so often, not much is like it seems. My years of working around and with vision scientists, and seeing some of the results of their experiments, have taught me that the human visual system ("system," because it entails so much more than simply the eye) is an incomprehensibly complex and subtle creation. The interplay of multitudinous features and schemes leaves one breathless when trying to understand how they all relate. And the engineering and design philosophies (if one can use those terms) underlying the whole system should make any self-respecting engineer (whether optical, mechanical, or electrical) blush with embarrassment at her own feeble attempts. 

My point here is not to disparage the engineer (I am one!) but to point out the simple fact that when it comes to imaging and optical information systems, the human eye and its larger visual system is without peer in this wide world, and perhaps, in this wide universe. At least we've not yet seen anything which beats it.  Some cameras, or even other biological visual systems, may exceed human vision in a particular narrow technical aspect, but nothing exceeds its overall performance, utility, and flexibility. 

So, enjoy your modern (or old-school) camera for what is, but never lose sight of the matchless design and astounding craftsmanship of the visual system that opens its two "shutters" for you each morning. 

The Knowledge of Ignorance

My work as a research optical engineer involves the intersection of lasers and human vision. Recently, this prompted me to take a look at what is frequently referred to as the Stiles-Crawford effect. Although the effect was discovered back in the 1930s I read a much more recent review of the history of this discovery and its subsequent development.

W. Stanley Stiles first began his experiments investigating the glare effects of looking into oncoming headlights while driving at night. While the glare and its attendant problems were his primary concern he stumbled onto a totally unexpected feature of the human visual system along the way. Although I won't go into what may be for you totally boring details of the effect, suffice it to say that has to do with the highly directional light sensitivity of the retina's cone cells. Of course, these cells are the ones that are primarily responsible for the eye's ability to discriminate color and to detect small details. 

Visual Interface, © Bill Brockmeier
all rights reserved

While the effect itself is very interesting to me personally from a number of different aspects, what most caught my attention was that 80 years later those closest to this problem still have no conclusive understanding of its mechanism. It is simply amazing that with all of the modern biological microscopic imaging, high powered computer modeling and such that this simple effect still escapes a clear definition as to its cause.

The article went into some detail concerning modeling work that had been done over recent years to "prove" a waveguide theory as the basis of the effect's operation. This work has shown the theory to be inconclusive at best. Other theories were likewise recounted in the review, as were their shortcomings.

The review delved deeply into very minute details of the structure of the cone cells– how they are organized, and how they most likely function. An incredible level of understanding currently exists of what goes on in these tiny detectors of light, and yet, this understanding does not yet provide a full picture of how an effect discovered nearly a century ago fundamentally works. Perhaps a full and accurate explanation lies just around the corner...or perhaps not.

It seems that regardless of one's pursuit in life, the more one understands about it and the more expert we become, the more we understand our own ignorance and how little we really know. Deep and real knowledge always seems to bring with it a strong dose of humility. 

BELOW FROM ABOVE

Most cultures have revered trees as a symbol of prosperity, longevity, and the tenacity of life. This enigmatic image is one of a series of photographs I am producing that celebrate the joy and richness of life as exemplified in trees.  I call the series: "Trees of Life".

WATERS BELOW FROM
WATERS ABOVE
© Bill Brockmeier

This photograph makes great use of the unusual format of a vertical panorama, and spans nearly a full 360° vertical field of view. Imagine standing near the edge of San Pedro Springs, near downtown San Antonio, looking down towards your feet and then gazing upward along the trunk of a great cypress tree.  You look directly above you at the overhanging cypress boughs, then down behind you at trees beyond the springs and finally, down into the springs themselves.

I am fascinated by the connection of water, earth, and sky, and these three find their most profound and living relationship in the life-forms we call trees. The wonder, and the practical and aesthetic value of trees is inestimable.

God planned and planted the original Garden of perfection, in the center of which stood the Tree of Life. This Tree represented His perfect provision of life unending and abundant. A future reestablishment of such a Tree was revealed to the prophet Ezekiel, and centuries later, to the prophet John on the island of Patmos. Ezekiel described this Tree of Life (though not using that specific term) in the plural: "trees." John, writing much later about a very parallel vision, seems to lean back on the original description in Genesis as "the tree of life," but he adds an interesting twist by claiming that this "tree" (singular) exists on both sides of the river. One tree, but existing in more than one place at a time.

The Tree never withers, or lacks for water, its root penetrating deeply into the ground below, continually moistened by the River. The Tree, never dormant or inactive, produces fruit every month. And its leaves are sufficient for healing, even on a global scale.

Trees are marvelous wonders of the natural world. Their complex biology boggles the mind, and their astounding aesthetic design causes the imagination to soar.

If you haven't yet, plant a tree, and watch it grow as you do!

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This photograph is available in a Very Limited Edition of only 12 copies, printed and mounted archivally on special canvas. The full, framed size is 20 by 72 inches.    Call now to reserve yours— 210-241-6132.

FIRMAMENT

Some time ago, I was traveling by commercial airlines from the San Antonio area to Boston. I am always fascinated by the ability to travel across the continent by air and I delight in the view from such an elevated platform. When the plane's wheels touch down on the runway at my destination, it always seems too soon.

This flight was just such an eye-full since nearly the entire trip we encountered various forms of exciting atmospheric conditions. This was a great time to try some of the photographic experiments that I like to play with when confronted with such great subjects: huge, towering thunderheads, long stretches of unbroken cloud cover, and unusual sunlit conditions. Often, these experiments are interesting but never materialize in usable photographs since the cabin windows so frequently are very poor in optical quality.

Things like age-crazing, general scratching and scuffing, and big gooey smears of hair gel take a huge toll on the ability to take decent photographs. On top of that, reflections of bright things in the cabin can dominate the view as well. To mitigate some of these issues, I usually try to bring with me micro-fiber cloths to clean the window, and it's also a good idea to wear as much dark clothing as possible to reduce reflections. This trip I was doubly-blessed with a high quality, clean window, and sunlight directions that minimized any reflections.

At one point in mid-flight we were flying near 30,000 feet (over 5 miles up) and traveling along between two layers of clouds: a very high layer of thin clouds, and a lower stratum of complete cloud cover (the earth's surface was entirely hidden behind it). The colors of the sky, where it could be seen, were absolutely entrancing– from a light cyan/turquoise near the surface of the earth (the normal sky-blue we see from down here) graduating to a much deeper and purer blue looking up above the horizon.  When gazing up as high as I could see out of the window, the sky was nearly black, but still discernibly blue (maybe a blue-black or "midnight blue").

FIRMAMENT, © Bill Brockmeier, all rights reserved

I tried some different techniques to capture some of this scene, which overwhelmed me with the vastness of the layering of the clouds, and the pure beauty of the unadulterated colors.

I didn't look at the photos until several weeks after the trip, and when I did I found quite a few semi-interesting shots, but nothing that really stood out to me...until I came across one that I took as we flew between the two layers of clouds.  The image really took me back to when I was observing and enjoying it in person.

Recently, I decided to go back to that photograph and try it out in large scale on canvas. After the photograph had been printed, coated, mounted, and framed I sat the completed work up against the wall in my studio and was amazed at how it had come out. It looked to me, and had the feeling, much like the abstract paintings that I so admire. Then it hit me. Turning it upside-down, I thought "let's make it a little MORE abstract." This new composition, which placed the earth at the top of the canvas and the sky below it, was definitely superior to the conventional view.

The very dark blue of the highest atmosphere was now at the bottom of the image, giving it much more a sense of stability and solidity.  The light gray solid cloud cover was now a band of light towards the top, with the brilliant cyan/turquoise streaking between the two. The deep blue below, although actually a view of the high atmosphere appears to be almost water-like. But if it looks like water, where is the horizon, the distinction between the atmosphere and the ocean? The whole effect is a bit mystifying and one is reduced to the pure simplicity of enjoying the colors and the structure of the image, without being able to really ferret out what is going on.

The more I have looked at this image, the more it seems to me shrouded in the enigmatic mists of the original Creation itself.  Some of the opening phrases of Genesis ("Beginnings") say that "...God made the expanse (the firmament) and separated the water under the expanse from the water above it. And it was so. God called the expanse 'sky.' And there was evening and there was morning– the second Day."

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This photograph is available in an Extremely Limited Edition of only three copies, with just two remaining. The full, framed size is 20 by 72 inches.    Call now to reserve yours— 210-241-6132.

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Note: this article is the first in a weekly series that will showcase my Very Limited Edition photographs. For more information on these editions and how I produce them, click here or on the Very Limited Edition link in the upper right. 

Speaking of Art

Wine was poured and conversation about art flowed freely as those who love creative pursuits gathered at

The Cibolo Nature Center, (© Lake/Flato Architects)

the Cibolo Nature Center on Thursday evening. It is hard to beat the beautiful combination of spectacular spring weather, good food and drink, stunning musical ambiance, engaging exchange of thoughts, and compelling art. These were marvelously evident at the special opening of the "Our Hidden Treasures" Art and Conservation project at the Center.

I never tire of hearing what people are thinking and feeling when they experience creative works. And it is equally fascinating to listen to an artist lay out their own process of producing these works. Art is about communication, and communication is, itself, an art to be appreciated.

I look forward to the rest of this weekend as I transition to representing my work in the "Parade of Artists." I love rubbing elbows with fellow artists who have such a desire to express the recesses of their hearts to others. And also I love hearing from those who come out to appreciate these creative efforts.

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Side note: you can read a brief article on me and my work in the April issue of the Boerne Chamber of Commerce newsletter here (check page 23).

Frenetic Activity

Life sometimes seems in a "neutral gear" mode when to all outside appearances nothing of significance is happening.  Then, suddenly, a flurry of activity is upon you and you wonder if you are going to keep up with it all.

As I have mentioned a few times over the previous months I have been visiting a large and special parcel of land in the Hill Country of Texas with the goal of producing at least one work for the "Arts and Conservation" project of the Cibolo Conservancy. Although I have been wondering how it would all turn out, I am pleased with what finally came about through these efforts. The project happens only once every other year so it is wonderful to be a part of this infrequent event.

The work I have chosen for exhibition in the show is titled "BEFORE THE FALL." This panoramic photograph takes in numerous cypress trees along a mostly unvisited stretch of the Guadalupe River between  Comfort and Twin Sisters, Texas. I have produced the image in my special archival process on canvas and framed it appropriately in a fairly rugged, yet elegant, dark wood.  The pallet of soft green and muted orange of the autumnal leaves of the cypress trees plays a counterpoint to the hard, textured surfaces of the trees' trunks.

In an "artist's statement" to appear alongside the exhibited photograph I have written:

"Living things— displaying scars of their battle with the elements, and yet ever new with the soft evidence of recent growth and renewal. These are the venerable cypress of South Texas. The Kilpatricks' conserved parcel on the Guadalupe is an extraordinary space where these botanical giants dance with water, sky, rocks, and deer. Although cousins of the evergreen conifers, these goliaths of the Hill Country are just turning from the green of summer to the amber/orange of autumn and will soon drop their leaves, to be swept away by the river below."

BEFORE THE FALL, © Bill Brockmeier, 2013, all rights reserved by the artist

The other photograph I will exhibit in the show is titled "DARK MIRROR" and is the image which juried me into the show. All of the selected artists' juried works will be displayed along with their current project works. I have displayed this image here in previous articles about the "Art and Conservation" project and show. The image is a panoramic view captured at the Pedernales Falls State Park, just after the sun had set. My artist's statement to appear alongside it reads:

"Water and stone constitute the "warp" and "woof" of this unique landscape textile that the Creator has woven in Pedernales Falls. The organic softness of liquid contrasts with and complements the durable and inert nature of hard rock– but in the end the water has its way and changes the face of the stone through erosion. Most visitors to the Park see it in the bright light of day, but I composed this image just after sunset, when the crepuscular light had tranfigured the landscape into a dark garden of mysterious beauty."

DARK MIRROR, © Bill Brockmeier, 2013, all rights reserved by the artist

Both of these photographs are available in very limited editions of only eight photographs each and were produced, mounted, and framed using exclusive archival, museum-grade processes. The full size of both framed works are 48 inches long by 14 inches high. The initial retail price of each will be $700 and when the editions are sold out, no further images will be produced. You can see both of these images in person (and all of the other wonderful art!) at the "Arts and Conservation" show, "Our Hidden Treasures," at the Cibolo Nature Center, in Boerne, Texas (check out these links for the location and details). The show exhibits art works of diverse media (not only photographs!) and will be open to the public from 10 a.m. to 8 p.m. April 12 and 13 (FRI-SAT) and from 11 a.m. to 3 p.m. April 14 (SUN).

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As it often seems to happen I have extended lengths of time when no shows are scheduled, and then suddenly multiple things seem to happen at once.  This has been the case over the past few weeks as I have been preparing for two shows which will be happening simultaneously this coming weekend.  The other show, Boerne Professional Artists' "Parade of Artists," will be happening at the same time— more on that later.

Unexpected Gold

Growing up in the Midwest, I was absolutely enamoured with the deep pine forests of the Rocky Mountains. I had been born in Denver, but after our family moved to Kansas City we only visited the mountains as tourists once a year. The plains of Kansas and Missouri surrounded my home for a hundred miles in every direction and these were not populated by large forests of any kind, let alone the lofty pine. These evergreen trees were exotic to my young mind and seemed so different than the few hardwoods I was familiar with. The pines were incredibly tall, and rather than spreading broad branches in a horizontal scheme, they seemed to soar straight up into the heavens, their tops even tickling the feet of angels flying "up there."

Another way in which these pines seemed so superior to the oaks, maples, and sycamores I knew was that their "leaves" were made for the long haul. Unlike my lowly hardwoods, which weakly dropped their entire crop of leaves as the weather turned cool in the fall, the ever-green pines had wonderfully exotic needles with which they eternally clothed themselves. Even through the coldest arctic blasts the proud and stoic pines kept their deep green cloaks wrapped tightly about them. Never naked, never shivering in the cold, they seemed to laugh at what the winter threw their way.

BARELY GREEN, © Bill Brockmeier, 2012
All rights reserved by the artist

When I moved to South Texas thirty years ago, you can imagine my surprise when I discovered the "secret" held by the magnificent cypress tree. The Hill Country in which I live is filled with the clear, cold, fast rushing rivers and streams which host the wonderful cypress. These trees nearly always grow at the very edge of the rivers, thrusting their feet and legs– up to their knees– into the fresh water and solid rock limestone bed. Some of these huge seniors are known to have seen over a thousand seasons, and who knows how many floods.

These cypress giants seemed so much to me like the pines I idolized as a boy. They were incredibly massive and tall, as were the pines. This was certainly a "tree's tree" that fulfilled the biblical description of the "Cedars of Lebanon." And the finely divided leaflets seemed so much like the pine's needles. These were clearly in the "evergreen" class of trees. Or so I thought.

BROAD PALLET, © Bill Brockmeier
All rights reserved by the artist

After our first summer in South Texas, with the coolness of autumn descending from the north, we began exploring the Hill Country in earnest. As we approached one of the seductively clear rivers on our journey, I noticed something strikingly odd about it. This stretch of once magnificent cypresses was turning brown and some were already bare and apparently dead. How could this have happened? Was it some strange tree-specific blight killing them in succession? Was some out of control insect species to blame? Had something been dumped in the river and poisoned them? What a tragedy!

As we drove on and came to another river the same depressing scenario appeared at the river banks. We couldn't believe how badly this plague had progressed. We were somewhat deflated as we finally arrived home.

That evening, as I read about the bald cypress in our field manual of trees, I suddenly realized the ignorant mistake I had made. These cypress were NOT the evergreens I had supposed them to be, but were actually classified as deciduous trees! These trees were supposed to drop their leaves each fall. I sheepishly told my wife about the truth I had just discovered.

In the few decades since that time I have come to appreciate the rich gold, amber, and orange show the cypress makes each November. I now actually look forward to this unusual autumn display of deciduous splendor. It is kind of ironic that growing up in the Midwest, where gorgeous autumn trees are the norm, I now live in South Texas where most of the oaks are "live" (nearly evergreen), and this seemingly "evergreen" cypress is one of the few deciduous trees. As a wise man once said: "Go figure..."

Solitude, Silence, and Stillness

About a week ago I took the opportunity to visit my Art and Conservation project site in the Texas Hill Country. If you recall my posts of the summer, I had been assigned a Nature Conservancy land trust that is located somewhere between the little towns of Sisterdale and Comfort. The trust is situated along a nearly one-mile stretch of the cold, clear Guadalupe River.  This was my first chance to return in a couple of months and I was looking forward to spending nearly a full day there: capturing images and getting to know the place.

I had called and left a message with the landowners informing them of my trip out there. Since they hadn't responded within a day of my phone-call  I didn't expect them to be there, and they weren't. I would have this huge natural gem to myself– I almost felt guilty about it.

I had arrived a couple of hours after dawn. Even though it was well into morning, the fairly high bluff on the southeast bank of the river was still deep in shade and the day seemed younger than it was. The air was crisp and new. 

I drove my truck slowly over the nearly invisible trail on the precipice above the silt plane adjacent to the river. The bank on this side was already well lit by the sun. The sun's beams had not yet illuminated the river itself, still a hundred or more yards away, but I imagined I could see ripples sparkling on its surface. I parked and exited my truck, attempting to close my door without breaking the silence that surrounded me. The only sound I could now hear was the whispering babble of the river in the distance, but perhaps I imagined that as well. 

CYPRESS LANE, © Bill Brockmeier, 2012
All rights reserved by the artist

It is really remarkable when you finally find yourself in a place where silence reigns. No street traffic, no humming AC units, no TVs inanely yakking in the distance...not even an aircraft in the clear blue overhead. It is amazing how the immediacy of life comes to the fore when there are no external sounds to distract you. All of a sudden you feel your own heart beating in your own chest. You can feel/hear the rushing "whoosh" of your blood as it streams through the capillaries of your inner ears. And then you start to "hear" your own thoughts. They become so clearly audible that you'd swear you were speaking them, but then you realize that your lips and tongue are not moving and your mouth is still closed. 

The lack of external sound can also amplify the sense of vision. Magnificent, large cypresses lined the river in front of me and their deep green leaves were brilliantly backlit in front of the yet-dark bluff behind them. Even though a hundred yards off, it seemed I was seeing the finely cut "needles" in perfect clarity and in higher resolution than my eyes were physically capable of. 

COLOR IN THE SHADOWS, © Bill Brockmeier, 2012
All rights reserved by the artist.

I headed down to the river itself after taking a few exploratory photographs from afar. Now at the immediate banks of the Guadalupe I could hear the actual sound of it. The audible sensation of running water is something exquisitely marvelous and magical. I don't believe I could ever tire of it. The hearing of it is, to me, as refreshing and enlivening as taking a long, slow drink of it. My ears drink in the sound of it. 

I continued to photograph throughout the day, moving freely through the conservancy trust. It was not only the lack of man-made sound distractions, but also the total absence of any human contact for seven or eight hours that was refreshing and invigorating. It is marvelously cleansing to be immersed in nothing but the Creator's handiwork. And when you come so face-to-face with His Art, it makes communication with Him that much more immediate and powerful.

Personally, I take great joy in talking with people about my own creative work– hearing what they think and feel about it, and giving them my insight into how the work came about and what it means to me. I believe it is the same with the original and authentic Creator– He, and we, can take great joy in conversing about His work as we experience and consider it. And He will give us insight into how this creation came about and what it ultimately means.

We Have a Winner!

I promised early in the springtime that at the close of spring I would select a winner of a free photograph. I recently selected at random (using Excel's "RAND" function, which we know is perfectly random!) a name from my blog's email subscription list.

Our winner is Connie Clark, and she had the option of choosing one of four different images from my "oceans of flowers" Texas wildflower series. Connie made an excellent choice of LAGOON OF BLUEBONNETS.  Congratulations, Connie!

The image was captured of a field of somewhere between five and ten acres of Texas bluebonnets north of Marble Falls, Texas. The photograph recently shipped to Connie was an 8.5" by 42" print on archival matte paper using my state-of-the-art archival processes.

LAGOON OF BLUEBONNETS, © Bill Brockmeier, all rights reserved by the artist

Stay tuned for announcements of my next drawing for free art...

Conserving the Hill Country

A few days ago I had the opportunity to travel to the site of the Arts and Conservation project that I will be undertaking for the next several months. The location is a beautiful and considerable stretch of the Guadalupe River between Sisterdale and Comfort, Texas. The region is classic Texas "Hill Country" with its rolling hills, steep knobs, and rich river valleys with "pecan bottoms." In particular, this stretch of the river is populated by ranks of huge cypress sentinels arrayed below bare limestone bluffs.

Thistles Along the Guadalupe
© Bill Brockmeier

We met with the landowner and conservator of the property who graciously explained to us the layout of their place, and where I might find interesting subjects to photograph. She told us why they had acquired this piece of land and what it has meant to them over the years. They appreciate the unique treasure that they hold and they have made it available to me to convey some of its beauty to others.

I plan on visiting the property over a period of months so I can capture images during different lighting, weather, and seasonal conditions. I will make my first photographic trip to Sisterdale later in June, and will bring you some of the fruits of my efforts here.

Art & Conservation

I was pleased this past week to open an email from the Cibolo Nature Center and discover an acceptance letter for the 2012-2013 "Our Hidden Treasures" project for their ongoing "Art & Conservation" program. The every-other-year project, which began in 2007, is a collaboration between the Cibolo Nature Center, Cibolo Arts Council, and the Cibolo Conservancy.

The Cibolo Creek watershed and surrounding Hill Country region is not only a treasure to the state of Texas, but is such a remarkable gift of natural diversity that people from all over the nation come here to enjoy its richness.

The "Art & Conservation" project juries applicants from a wide spectrum of the visual arts and then pairs the selected finalists with varous landowners from the region (the image I submitted for the jurying process appears below). The properties chosen for the project are veritable jewels of our natural heritage and this collaboration is aimed at highlighting these spaces' unique and precious gifts through creative expression.

DARK MIRROR, Pedernales Falls State Park, © Bill Brockmeier, 2009

The selected artists will visit the places that they have been paired with over a period of mostly a year and will have the opportunity of experiencing the seasonal changes in the land. The creative focus is on the natural and unique ambience of these places, and a determined goal of the project is to avoid the inclusion of man-made structures and common artist cliches.

I am certainly looking forward to experiencing and expressing the wonder of the place I will visit— a ranch on the Guadalupe River east of Comfort, Texas. As the project unfolds, you'll read about it here.