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  • Emanation

    Two carved images directly connect with natural orifices in the stone surface.  As a flowing it appears.  Emanation comes to mind.  Orifice as origin, or perhaps aperture leading inward, an infusion. What the carvings mean or indicate is unknown.  We may speculate: a movement of spirit-power in some way.  Perhaps the carvings were made in gratitude, in hope.  Perhaps representing an experience or a desire through which the act itself releases energy.
    The first image (top), from well-known Chalfant In Mono County, California, is carved into Bishop tuff - Chalfant, an eastern cliff edge of the Volcanic Tablelands.  The second image (above), from a basalt rim in central Lake County, Oregon.  Both overlooking close-by water flows.  Both with clear mountain-ridge views and toward the rising sun.
    These images seem to emerge from unconscious patterns, archetypal forms, which as they are formed by the carver vary as influenced by culture and landscape.

    On form, Henri Focillon writes, “Although [form] is our most strict definition of space, it also suggests to us the existence of other forms. It prolongs and diffuses itself throughout our dreams and fancies: We regard it, as it were, as a kind of fissure through which crowds of images aspiring to birth may be introduced into some indefinite realm.” (from The Life of Forms in Art, 1934)

  • An Image in Volcanic Tablelands

    How and where does an image begin or end.  To re-present a petroglyph in a photograph is always to contain.  This re-imaging becomes imaginal, an interpretation.  When the petroglyph suggests flight, or soaring, perhaps it is a moment to follow along, drift, look out, up, and away.  

    The three photos below offer aspects of this east-facing petroglyph-on-basalt.  This petroglyph is one among the countless array at the well-documented, public BLM site called Chidago/Red Rock (MNO-8), located about 20 miles north of Bishop CA. (Photos Douglas Beauchamp, April 2018)

    The image appears bi-symmetrical. Suggesting wings, feelers or streamers, antennae or pincers, extend from a segmented “body” with a three-part “tail”.  Perhaps of a spirit-being realm.


    The image extends beyond the stone, here in landscape-view looking south toward the Owens River Valley and beyond - the Sierras.  One of many ways to see.


    Another series of markings, perhaps a second petroglyph, is below the first image. A different time or different intent? Or related? If so, how?