By CB Bryan
El Vado
September 18, 2015
I felt tears in my eyes upon arrival back to Albuquerque
from our first trip -- so much newness and suddenly a return to the daily grind
and the place where I know the most and perhaps the least. It became a week of
hussle and bussle, lots of artist talks and conversations surrounding art and
the impending climate change, trips to Lowe’s and late night visits with old
friends and new. I waited until the last minute to pack my bags and felt
totally unprepared on our launching date as we set off to Bill Gilbert’s cabin
on El Vado Lake.
The lake is at the fullest that anyone who has experienced
its muddy shores has seen in years. We settled into the new atmosphere with
lingering Albuquerque stresses but relaxed as were greeted with a wrap-around
cabin porch -- a perfect sunset viewing stage.
I came here with the intention to paint, but I also think I
came here with the intention to be by myself and have an excuse to get away
from the magnetic center that is base camp. So involved! Collaborative and
sarcastic and socially vibrant. Snacks and no productivity. I could spend the
whole day shootin’ the shit -- which makes for a fun afternoon but also,
occasionally makes me miserable.
I talked to Jenn and
Kathleen Jesse, Beau Carey and my dad
(JB) and I built this thing that all four have used and come to understand.
This “wengerian easel.” All four of these mentors are part of a long tradition
involving taped coroplast and plywood
which allows for a small outside painting studio.
I strapped this large hulking rectangle to my back with the
help of an old external frame backpack circa REI, 1980s (a small tribute to my
time as an outdoor clothing specialist.) The backpack easel is much more bulky
than any french easel and it makes walking under trees a brand new experience.
