lydia cheshewalla

Lydia is wearing a green tank top and a black floral shirt. She is laying in the space between two rocks where she fits perfectly. Her hair fades from black roots to blue-purple ends and flows into yellow grasses growing between the rocks.
A circle of yellow flowers sits on a gray sidewalk with a bit of light casting shadows onto it. A yellow plastic chain cuts across the lower half of the image diagonally.
Two shadows reach for each other on the surface of a stone that has a wedge line in it.
Lydia sits in a small nook in a faded sea green building that has a huge crack running down it on one side of her and a large circular anchor ring attached to the wall on her other side.
In the fine layer of soil that is the Playa there is a faint path of where a temporary river once flowed. There are a set of footprints that follow in the path of the river. The river and footprints disappear into the horizon.
Sand dollars have been lined up and pressed into the sand which is so wet that it creates a reflection of the sand dollar so that it appears as if the whole sand dollar is visible. The ocean is in the background.
Lydia lies on her back at the end of a line of white rocks which have been laid down the center of a hiking trail.
There is a line of tiny glass vials with screw on lids and each one contains a different element from a different place. In one there is charcoal from Presidio, TX. In another there is melted snow from the Donner Pass.

An examination of borders, both of the land and of the heart. An exploration of liminality, communication, connection, and kismet. A map of place. A search for Ecological Emissaries.


 A collaborative work-in-progress with Jessica Price. 

www.doomflower.com


Partially funded by a Creative Projects Grant through the Oklahoma Visual Arts Council, 2019.

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