The infamous, Soul Train, in full swing, in full action. (circa 1970s)

And what’s even more a pronouncement of the dream – this memory that I cascade through, and gingerly walk through – we had our vintage record player, equipped with any manner of ballads, rhythm & blues tunes and melodic monologues, providing soundtrack and melody to our daily happenings and life. This effervescent, musical anthology of my early childhood, accompanied every milestone and moment: within social and familial constructs; that, perhaps, my developing mind could not fully comprehend or see at the time. These songs, these letters, from Black artists were, in tandem, a reflection of the triumphant quaking and shaking at the seams, of a people, who – whether behind the vocal booth, front-lines of war or any stretch of profession – were seeking to undo the cultural untruths told of them; their Grandparents, their children, many generations prior.

This bridge of melodies, in and of itself, became a cultural drumbeat for us: a sort of trumpet call of what levels of life and love; triumphant and creative expression, we were capable of. Amdist the attempt of this people, this Black people, to manifest and move through the miraculous, (the miraculous, simply being: to counter the root and fruits of a generational lie), the music still played; the music was still made. A collective celebration – a tenor and tone of anguish, beneath the jubilation – stood as a clarion call and cry of what we, as a Black family, had to endure – whether subconsciously or consciously – journeying through society and life; hoping to fulfill the promise our Grandparents, and those before them, could not attain or fathom.

James Brown, who would eventually turn soul music into complete funk. (Courtesy Photo Archives)

These songs – this poetry, through bass and ballad – were far more than a mere hit or great record: it was both a defiant mark and defining moment of who we are as a people, and who we are not. Simply put, the music was our picket-line and boycott; an undercurrent message to cast vision to both our current experience and to what was possible; very similar to and reason for songs sung amongst those within the unforgiving sun of plantation fields. The music we listened to, was far more than the product of mere navigation for an artist or songwriter; it was the continued expression of Black people countering the lie through song; the lie that said Black people are absolutely less than; a lie that attempted to frame Black people in a space, unworthy of excellence, brilliance; the promotion, the offer. Through song, we asserted and aligned with the truth: ‘We are brilliant: the lie told of us, centuries ago, is still and will always be, that which what it is, a lie.’ 

And why yes, of course, I have encountered many varied, iterations and interpretations of that lie – similar stories of my Grandparents – and quickly found myself connecting to and calling kin, the strength and courage artists of old had to muster, in order to stand where they were. I looked up and listened, recognizing the same strength, the same courage, the same fight; the same desire to love, even still.

Soul Music, taking the musical landscape by necessary and celebratory storm.

There’s a wonderful podcast I have recently discovered; where by which, the conversation meticulously weaves bits of information gathered, into a much deeper narrative; speaking to an even bigger picture. It moves thought way beyond pop-hits and the metamorphosis of Black music; it is undergirding the story and presence of a people; those that were spat upon – literally and figuratively – and somehow, by the Grace of God and an unearthly discipline to match, masterfully and divinely impacted the way in which we all celebrate and think; court, ponder; learn, fight and ultimately overcome.

What we sort of have before us, (which I love), is the story of a people.

I listened to a few episodes from this year. My favorite – if I must confess – is with Mr. Smokey Robinson. There were whispers and moments, where I can hear within Mr. Robinson’s voice, he is rather blessed to both interact with and ponder the questions given him.  There is something rather remarkable to trace a people’s attempt to manifest the miraculous through song: where it took shape within life, we could hear it within the booth. My family’s library of melodies is a chronicling of such, reflecting our own Heaven-declared miracles, walking on water moments. What a wonder this is, for even my great-Grandparents to imagine. What a wonder that is, to even ponder and think.

xxxxxo

Lindsey

There is a tribal distance and difference between the men and women that came before me, culminating - even still - into a collective, familial narrative: wherever they traveled, dwelt, or claimed as home – Ireland, the mid-west, Cuba, the heated plot amidst the Southern belt or the Great Plains – they knew the land, its inhabitants, its predictive patterns. This relationship with the land, of course, being out of necessity and sustenance; a daily, weekly provisions of sorts, for a growing family. Black cowboys and cowgirls; Native ranchers and great Cuban fishers of the sea. This – who they were and continue to be in my life – predicates itself upon the journey to thrive and survive. A depiction of my great lineage speaks to them as lovers of the land, carers of the land, tillers of its soil and the careful consideration of what the Earth needed to bear, for generations to come.

(Picture this: Black cowboy and legendary rodeo performer, Bill Pickett, c 1880s. Pickett reflected a way of life many Black families would adorn).

It was never a theoretically or empirically foreign concept to consider my roots and self-identifying culture to be that of a nature-lover: a member of the outdoors; those that love the trees; find solace in the chorus of birds, a preamble to their melody-ensemble; after all, when delving deeper into the history of those individuals and people that make me, we find various continents, dialects, colors and cultures – all of which, simultaneously, align with this very constant: unknown paths of freedom being forged, within the great expanse of the sea, the wilderness, the country and the land.

No longer was it a plantation; it was no longer the plight of a potato plague, or the struggling identity of an island-country – this very thing, was a very new thing. And the task, for those that came before, was to simply - and beautifully - make something out of nothing. In order to fulfill this preordained manifesto – walking, running swiftly by faith, and not by sight – a mastery of ‘la tierra’ was necessary.

‘Fishing Boat,’ by Henri de Toulouse-Lautrec (c. 1880)

My grandfather, (Papi, as I affectionately call him), who was raised by his grandfather – Papa Papino, carrying our Cuban heritage; who he affectionately called, Papa – recently shared with me stories of Papa Papino taking him along the sea to capture the seafood of the day. Setting out within Papa’s trusted fishing boat, my Papi would later reveal that Papa Papino not only caught what the ocean had to offer for sustenance; Papa Papino would take each catch, create incredibly delicious seafood dishes at scale; then, sell each batch to the local seafood bars and restaurants for trade. (Entrepreneurial and creatively ingenious in spirit, but of course). I did not know …. and yet, knowing my Papi, and the fact that he was raised by this man, it surprised me not.

What this revelation clarified and further emboldened for me, was this consistent mastery of the land and sea; a drumbeat that I’ve efficiently held to and heard of when speaking of my lineage - huntsman, sea navigators, outdoorsmen and women - a narrative that predisposed and primed the surface of my mind and spirit to the expanse of the Great Outdoors; and, the possibilities thereof. Furthermore, it established this unconditionally sound tone within my soul – an understanding, if you will, of who I uniquely am. This being amidst the tapestry and backdrop of ‘trending’ and the expected; an assured ‘self-identity,’ set entirely apart from - running much deeper than – all outside, propagated narratives, intrinsically incapable of speaking to the fullness of me, my heritage – my now, my to come.

(Pictured here: historic cattle rancher and Black cowboy, John Ware, with wife and family, c. 1897).

Is that possibly a bar – politely, peaceably, it just might be.

And not only is that perhaps a bar, it is entirely a gift; a gift, that I sit in, that I marvel at – one that I come to more deeply understand and clearly perceive, as the months move in tow with time and eternity. Who I am is set a part from what trends, and perhaps, what may not; knowing this, walking in this – moving in this – is perhaps, an indelible expression of self.

xxxxxo,

Lindsey

Over the stretch of an almost two-week stairway, the first-ever Vans Pipe Masters, (formerly licensed to the World Surfing League),  introduced a level of competition and tenacity for ‘the catch of the wave’ that traditionally positions itself around former standards, such as priority. In inaugural fashion, this new approach mandated a much more heightened and focused competitive spirit than I believe we’ve allowed our senses to fully understand. We witnessed the intensity of our men’s heat, (45 minutes of standing potential), and equally, wonderfully, 45 minutes of contest confirmation for women. What I saw, more clearly amidst the women, was a concerted need – operative terminology, need – to produce more of an uptick in competition, focus and restlessness. Potentially, more indefinitely, we have been witness to the transition of Women’s Surf, to the level of athleticism that it needs to be consistently represented and portrayed as.

(PHOTO CRED: Tracks 2022, Molly Picklum carried into winner’s chair and welcome).

What was, included a layout that – respectfully – allowed for a tempered, slightly different level of competitiveness each day and each heat. With this particular shift, what transpired was a pivot in focus on the very truth: every day is a new day; who and how you arrive at each set matters, and can only be fueled by the previous experience, not defined. Instances of high power-performance, pummeled through each day, emerging suddenly and starkly - in contrast and expression – as the day’s weather patterns and swell.

As an excitedly engaged viewer, and lover and protector of the ocean, witnessing this management and interaction of how this format-shift beckoned its participants to approach, was more than interesting – it introduced a new stage in which we, (as a sports-watching community), would view and value the sport of surf, accompanied by women. The manifestation of this industry-shift, delegated a different recall of a sport we thought we knew – formerly embraced amongst women as a more polite dance with competition and competitive heat. Now, with the presentation of the new format – and the interaction thereof – we have been witness to the true athlete in the female surfer.

We, I believe, have been made aware of the indefinite shift – not solely in event-format – yet, in how we perceive and speak on / commentate on the woman surfer. This is now the jump-off point – young Molly, congratulations. Mr. Stack, wonderful to see.

Mahalo in Aloha,

Linds

(IMAGE COURTESY: National Geographic)

It is this reality that has produced and made room for the ‘create space’, the art studio, the ‘kiln-like’ experience for the work we produce.

If we can objectively dissect and break apart, the purpose of an environment – what its intention is – and apply that to our own mandate to produce / to create, we can perceive and receive the need to honor our environment in the right manner. When examining the operative term, ‘environment,’ this speaks to the conditions in which people, a specimen can function; and ultimately, thrive. The growth of those entities, individuals, dreams and ideas, predicates itself upon the conditions that they are in.

The music, the focus, the air, the smell – all produced, with intention – to direct said individuals, people, and ideas in a state of living, growing, being. Many times, the power of our ability to see these opportune environments manifesting in our lives – all of which singularly lead to healthy, happy and wholesome state of being – hinge upon our decision to do so. It is solely based upon one single decision.

As if looking down the empty barrel of a cannon, I knew the power that I held in deciding to either move in conviction, or to not; to remain complacent in nullifying who I am as a math and science brain, and an artistic and creative being, with inaction. I, for the first time in my adult-life, could process the trajectory of either direction: saying either nay or yay would change the course of my existence, of my countenance, of the temperature of my joy. With one decision, I could change the entirety of my path and journey.

So, I decided to move.

(IMAGE COURTESY: National Geographic)

It has been 8 hours since I have sat and reveled in this reality of curated environment. Already, it has produced a version of me that I’ve missed – a version that I had allowed uncultivated and untouched. The most incredible piece to all of this, is not recanting what one was praying to evade; rather, the purposeful, divinely-intended state of being that one has always been marked to embody. This is a rather, very sweet reality that I am currently tasting, and will never again give away. It is far too precious, this gift; this gift, that must be curated and cultivated.

Staying and Moving with Intention,

Linds

San Diego’s Mountainscape (IMAGE COURTESY: sandiego.org)

Within the span of a decade or so, I had entirely forgotten how much I loved being around, staring at and being near mountainscapes, I love them. For this very sleepy, unassuming SD town, it introduced itself more as a hidden depot of the Arizona plains, rather than what I had previously known: seagulls and shoreline. I was shocked, I couldn’t understand it … I continued to stare.

How could I have landed in this place unfamiliar, with its irrevocably remarkable, unmistakable view? A view that I could not have anticipated, a view that would call upon and harken to my ever-present, deep love for such formidable statues of time and stone.

What I have learned in this short, unexpected moment of a gift without repentance, is that God has a way of  unveiling each of life’s clues and details, only when it’s time. Details that comprise of hidden reasons and lessons of the journey at play. Many may embark upon, and / or attempt to embark upon the hustle of inspiration – only to do, rather than to simply be. For years, I was intertwined in this dance of trying to piece-together, string-together and find the perfect moment for my creativity to incubate, to cultivate and flourish. I couldn’t find it – I didn’t understand the importance of environment, nor did I completely comprehend why it mattered.

Without trying, without knowing, God was preparing a place for my gifts. I didn’t know it, until I arrived and looked up. There is a timing and a pace to all of this – this, being the rhythm in which one must create. We have been given a gift, and are merely the stewards of it; I did, however, arrive at this destined place by intentionality and clear perception: intentionally discerning the right place, and perceiving when it was time to make the move. That is important.

These mountains, in their unmoving nature to preserve, to protect a symbolism of what I love, reminded me that our gifts are always there; waiting in the balance of time, the right moment: set in stone to harvest, to flourish.

In Love, (and staying there),

Lindsey

(“Stillness” |  PHOTO CRED: Michael Hyatt.)

We have – without permission, without warrant – entered into a present reality that has altered the way in which we process our time, our focus, our priorities – our habits. One cannot simply head out to a group mixer, a networking meet-up, or the social event of the century, in the wake of feeling restless on a Thursday, Friday or Saturday night. Among millions of others, we are essentially ordered to Stay Home and Stay Safe. Periodical walks, bike rides and runs are all within a respectable reach – provided we keep far enough distance from others in the process.

What’s even more at a visible standstill, is our external list of activities: gatherings, concerts and shows; a cocktail of busyness that would tire any 5 year-old, sugared-up on a pixie stick high. This visceral stillness that we have been sentenced to - summoned to adopt for an elusive length of time – is at the very crux and core of our new societal challenge. What do you do, when the presumed way in which you managed your stress – i.e. bar or party hop, social scene or not – has been temporarily removed from your list of remedies? Instead, introspection, reflection, time with family and/or your passions, are the inevitable relief.

This other ‘new reality’ – where all former manufactured coping remedies, once prescribed by ourselves – are now out of the question for the foreseeable future.

So now what?

As insurmountably daunting these external issues are, the hope we have in this ‘internal new reality’ is found by unlearning former coping habits, and learning new, effective ways in which we face the music. Honest introspection – one that unearths a gravity-pull of emotions, never once fully addressed, never once adequately resolved – plays a pivotal role in crafting this internal, new reality.

(“Calm”  |   PHOTO CRED: Google Images)

Patience, another integral ingredient to our personal cross-examination, proves powerful: how and why we process our past, current misinformation and the like. While we may be physically bound to a certain square-footage within our respective areas, our ability to see our surroundings and circumstances differently, are not. This freedom and liberation we experience from every ineffective, past habit once deployed, will ultimately come first; it ultimately must come first.

In this present time, I encourage you to be brave, be patient with your growth – you can do it.

-Linds

PHOTO: Imagination | D. FLOREZ

Suffice it to say, I’ve never not travelled – as an artist and writer – and found that the event of doing so, wasn’t a tangible blessing to either craft. I have this need to travel – it is, my need to to breathe – my need to operate and live in … breathe in … the very gifts that I’ve been blessed with.

It isn’t so much a desire to escape; although, the desire to capture a new feeling often times reveals itself as a rather alluring and appealing find. The need to make space and time to nurture my writing, nurture my creativity, my painting, comes with travel. As one travels, one releases oneself in an elevated state to create – removing yourself and senses from the mundane reality of rigidity and scheduled to-dos; placing your attention on you: what you love to do, what you see in the evening sky, what watercolor painting you envision will bring that moment to life…. the words that drip off of your lips and on to paper.

When the artist travels, he or she positions their passions as priority: no one and no thing standing in the way- keeping you from focusing on this craft.

PHOTO: “Amsterdam” | D. FLOREZ

This act of the ‘active journey’ also removes any potential distractions and excuses we create in not investing our time and attention on our creative passions and gifts. It puts us in the right state, where the only variables involved are our gifts, our time and attention - that’s it. In a long time – for the first time – I activated this conviction as part of my routine.

Solitude with your gifts and creative thoughts, produces a window into how to create and nurtures the vision we have to do so. So how do we do it?

First, identify the location or place that optimally nurtures the focus & cultivation of your passions. If that’s a town, a room in your home, your favorite spot near a park – identify the location that provides peace to your process of activating your gifts.  

PHOTO: “Santa Cruz” | D. FLOREZ

Secondly, identify and schedule the moments you will invade that selected space with your gifts and talents. This will require intentionality and reality: balancing both what you can feasibly commit to, and what you know you need to commit to. For example, if you can’t travel to a remote off-shore location once a month – rather every 6 months – mark an alternative for your monthly/weekly moments to create.

Lastly, go. Do what you’ve identified and resolved as the solution to creative cultivation. Be intentional, be proactive, be persistent. Don’t give up on yourself or your gifts – someone needs to see and experience your gifts. If not doing it for yourself, please do it for them.

In love + beautiful things,

~Lindz

Indeed. (PHOTO CRED: Google Images)

By passion and trade, I am a writer and painter. A wordsmith and artist, with a mission to move what is at the heart and mind of subjects examined – topics discovered – to the forefront.

I have not always honored my gift as I should, writing or painting, day in and day out. As a writer/artist, it is one of the single most, profoundly simple and important muscles one can flex … all that is required? Your eyes, your mind; pen, paper and time. Solitude often plays a hand in this deck of fortifying our creative skills and cross examination of the world around us. The power that we, as writers have – those who first observe first, listen closely, then communicate and assess how all are related – is empowered by our ability to nurture this gift.

Dream-state, courtesy of CreativeWave Movement profiled Artist, Dan Florez (PHOTO: D. Florez)

The trouble often becomes in redefining how you write and when you write: Are you writing just for yourself? Are you writing for others? And, in what tense and tone should this supposed message take?

Many times, I have found that the need in assessing how I write, has affected when I write -

That is, until now.

The passion we have for the gifts we’ve been given from Heaven above, is there so that we may move in that very thing, deliberately and with great intention. Never mind who and what number of audience members you are doing this for: you are cultivating this in honor of the very gift itself; and most importantly, unto the One who gave it.

Long live your gift,

~Linds

Where fine art meets street. (PHOTO: L. NAZARIAN)

It wasn’t until I stepped inside the tearful lessons that the passing of her father taught her – lessons that propelled this artist into a creative destiny she now walks in – that I relinquished all fear in delivering - uncovering, really - the indelible pursuit of a said Leila Nazarian: an unrelenting passion, nurtured by her late doctor of a father, earlier last year.

“My father inspired me more through his actions rather than words,” remembers Nazarian, the Santa Monica, CA native. “He taught me to always display kindness and concern for others: [it's] something I highly take into consideration with Eclectic Decks.”

The calming resolve in her tone, as she recalls the man that her father was – the life that he gave her family and others- deepens her reason to stick with her pursuit. Out of this tender moment of reflection, exists a living legacy, passed from one generation and soul to the next. Leila is reminded of the very reason her dreams for Eclectic Decks emerged 3 years ago. We took a moment to talk, share and understand the pursuit that won’t let go of her, and the femme that won’t let go of it. Here is our eclectic dialogue:

CreativeWave Movement: Understanding what lessons your father has taught you – in his absence and in his presence – what moves you to create even more, continuing to pursue your passion, even when the odds seem to be stacked against you?

The creative collision of cultures. (PHOTO: L. NAZARIAN)

Leila Nazarian + Eclectic Decks: Seeing how my father would go to work every morning with a smile on his face, motivated me to really pursue a career I enjoy doing and feel passionate about. He wouldn’t let any setbacks deter him from achieving his goals and never wasted time in the process. I remember when I first told him about my idea for Eclectic Decks: he encouraged me to not waste any time and start working on it.

CWM: Very good…. the name you’ve given this passion that your father encouraged you in - Eclectic Decks – is superb, and most certainly speaks to the array of product you bring to the table. How does the name so perfectly fit for you and your business?

LN + ED: ’Eclectic’ is a word I tend to use frequently to describe my personal aesthetic and taste. I am very much influenced by my Iranian roots and culture, as evidenced in my first product-line. In the future, I hope to develop lines, inspired by other countries’ arts and culture. Given the eclectic mix of art and different cultures that I focus on, I think the name suits my brand perfectly.

Beatifully created, Eclectic Decks blends traditional Persian art, with that of the Western iconic element: skateboarding.  (PHOTO: L. NAZARIAN)

CWM: I think so, as well. It is, without a doubt, a perfect reflection of who you are, and what you are passionate about. This clearly wasn’t and still isn’t a hobby; rather, a passion for you. Talk to us about when this passion for skateboarding began, and how you decided to combine it with art and design.

LN + ED: A few years ago, I was working on re-decorating my apartment. Having been born in Los Angeles and raised in Iran and France, I was looking for home décor that would capture the different cultures I was exposed to growing up. I struggled to find a graphic that would suit my apartment, so I set out to create something. Skateboards and skate culture are something that most people always affiliate Southern California lifestyle with, so I began to explore the possibility of creating a customized art skateboard that could artistically merge elements of the varying cultures I grew up with.

CWM: I love it. When did the dream of creating and pursuing your love of art begin?

LN + ED: Ever since I was little, I always enjoyed observing and creating art. While studying at the American University of Paris, I took a variety of classes – from painting and drawing, to art history – which fueled my passion for art. Moving to L.A. and taking courses such as cultural diplomacy at the University of Southern California, motivated me to start my own art project. There is a strong entrepreneurial spirit in L.A. which is where I am currently based. I began to work towards combining my passion for art and art diplomacy, with my entrepreneurial interests. Eclectic Decks has made this possible.

(PHOTO: L. NAZARIAN for Eclectic Decks)

CWM: Yes, indeed. In the spirit of serving our dreams, your father’s authentic approach to serving others with his medical practice, was a pivotal part of your upbringing. How has that helped shape your approach to your artwork: serving others, as well?

LN + ED: My father was an extremely caring and gifted surgeon. He was always there for his patients and would never turn someone away because they couldn’t afford his medical care. He also encouraged me to have a sincere approach and good intentions when engaging with others.

CWM: An unmistakably important piece to any artist, for sure. Your designs are sophisticated, authentic and speak to rich history of culture. For those that do not know, what is the inspiration behind your designs?

LN + ED: I am mostly influenced by the art and culture of my roots in Iran. I think Persian art is so ornate in a fascinating way, and part of my goal is introduce it to non-Iranians. My latest khatam series, is influenced by Persian marquetry. A year ago I was in Esfahan - a place where this type of art is frequently created – and got the chance to see how they make it, which was an amazing and informative experience.

(PHOTO: L.NAZARIAN)

CWM: I can only imagine, as understanding our roots plays such a huge role into self-expression. And… speaking of roots, do you recall any ‘pearls of wisdom’ that your father shared with you as it pertains to Eclectic Decks, that you continue to keep close? If so, what were they?

LN + ED: He took many risks, himself, and encouraged me to do the same: whether it was taking a spontaneous trip, or exploring new creative artistic endeavors. For a while, I had this idea of making a few skateboards with traditional Persian marquetry on them known as ‘khatamkari’.During my last trip to Iran, I [had] decided, ‘Enough thinking about it … time to turn my vision into reality,’ so I took a bunch of skateboards, drove 7 hours to Esfahan from my hometown of Kerman, met with local artisans in the bazaar and had them finally made. The end results were exquisite pieces of art that merged traditional Persian art and culture, with that of the West. I know I made my father proud.

CWM: Wow, I’m certain you did, as that is the power of action: moving your dreams from conception into reality. The art of idea to creation… in terms of design, do you have a favorite board aesthetic? (As hard as that is as the artist!)

LN + ED: I honestly can’t say I have a favorite. I love all the boards: from the floral series, to the Persian dagger and the khatam ones.

(PHOTO: L. NAZARIN).

CWM: Your approach to design and the sport of skateboarding is uniquely your own. What has the response to your work been: have you been pleased with the response?

LN + ED: I have been very pleased with the response to Eclectic Decks, which has been quite positive and motivating. Every time I carry a deck, I am always stopped by someone who wants to take a closer look because they have never seen a skateboard deck which such a graphic. The decks have managed to create a sense of shock, awe and wonder at the same time. Most people who have purchased them use them as décor pieces, but there are a few clients who ride on them.

CWM: All of the many ways to engage with your artwork – fantastic. What specific dreams- near and far- do you have for Eclectic Decks?

LN + ED: Given the amount of interest I have received from outside the United States, especially from Europe, I would like to globally expand and hopefully begin new collaborations.

CWM: Indeed.

She is, without saying much of a word, the embodiment of her father’s dream come to fruition: strong-willed, quietly determined, resolute in her focus to find a way her dreams manifest. She is, the woman behind Eclectic Decks.

(PHOTO: D. Florez)

Photographer, Dan Florez knew that there was something to be found, something to uncover; never mind the exact ‘what,’ he just had to go. CreativeWave Movement took a moment to understand and learn of the mission behind the storied North American adventure, that he calls, “Retromodern Trip.” It’s a story of the journey: a story that reminds us, you may not know what’s going to happen next; but simply, that something incredible will. Here is our conversation:

CreativeWave Movement: You encouraged yourself to travel across North America? What drove and inspired your decision to take this journey?

Dan Florez: It was a slight accident, actually. A friend who was about to retire from the Navy (stationed in San Diego), mentioned that he was looking to drive his car and belongings back to Florida. So immediately, I responded, ‘I’m coming with! Oh wait… is that cool? Yeah, that’s cool.’ So I checked the flights, [and] it was a $130 one way… and I was sold. The trip was supposed to be a straight shot, through the southern states. As it came closer, we realized that this was a fantastic opportunity to see a bit more of the country, so our driving path turned into a more knot-like shape. Inefficient, but very fun.

CWM: Sounds AMAZING- unexpected fun. One of the best ways to do it. Along your travels, what were you hoping to discover? What were you hoping to accomplish? … and did you discover and/or accomplish it?

(PHOTO: D. Florez)

DF: I think, personally, I had 2 goals. One, to meet some odd/fun characters in the middle of nowhere. Two, to get lost in the big vastness. (I’d also never previously been to Utah, Arizona, or Nevada. So, all [was] a bonus)

CWM: Incredible. Sometimes, you never know why or what, but you just have to go! In conjunction with the above question, did what you uncover about yourself and your artwork/art-form differ from what you expected to find?

DF: I very rarely go into any situation with a concrete plan. I’ll have an idea, but usually, my goal is to place myself in an interesting situation, and see what I can get out of it.

CWM: Gotta love that.

(PHOTO: D. Florez)

DF: First, make an interesting story; document, second. We had some vague ideas about interviewing people across the country, almost doing a “people of NY” kind of vibe, but of the road. As we got going, that didn’t happen at all – as strangely enough, we stayed mostly to ourselves, out in the natural and empty environments. So, long non-answer… the prime goal of having an interesting story was accomplished. Beyond that, having no real expectations. I can’t say there was a “differ from what we expected” . If that makes sense.

CWM: Makes perfect sense. It’s not in the expected that we more often times than not, make the perfect discovery. Why do you think travel and exploration is so imperative to artists and creative types alike? As an artist, what do you think we get out of the ‘Art of Travel?’

DF: I think it’s [in] the challenge. If you’re sitting at home, doing what you’ve done, [then] that’s what you’ll do. Not that there is anything wrong with that; but for some of us, it takes a kick or a challenge to make things happen. If you hand someone a piece of paper, and say “draw an apple” – you’ll get an apple. If you hand someone a piece of paper, and a burnt stick, and tell them the same – it might not be the best apple, but I can guarantee it’ll be interesting. I think when you’re on the road, camping, working on limited funds and food, you’re challenged. You can be uncomfortable. That’s where things get interesting.

(PHOTO: D. Florez)

CWM: I love that. Evidently so, I think many of us grapple with the challenge of completely stepping out of our comfort zone… but in the end, it is and can be the best thing for us. Where did your North American tour take you? Where did you go?

DF: We started in San Diego. From there, we left around 10PM towards Los Angeles. En route, we had a quick change of plans [for] Long Beach [and] … surfed right outside the Vans surf competition in Huntington Beach. After that, we visited Big Sur up towards San Francisco. At this point, we decided we’d seen too much city, and it was time to get lost. Apparently… our cellphones agreed, and from this point on, we basically had no signal: just vague ideas and a road map.

The entire trip lasted almost a month, driving in a 78 Wagoneer with no AC/radio, and a top speed of 60mph. A proper telling of the story would be at least 3 chapters, so I’ll spare you. We drove through the Sierras, to spend a week near Yosemite … drove [the] vast emptiness of Nevada, the alien landscapes of Arizona and New Mexico (Navajo territory). There was a short visit to Western Colorado. Afterwards, we went through Utah (Zion/Canyonlands!) and Montana, staying in a town a little north of Yellowstone.

From there … we spent a night at Mt. Rushmore … then backtracked Southwest towards Montana- and accidently slept on a private farm- for the totality. It was mostly a straight shot from there back home (Florida), with a few breakdowns and inconveniences along the way.

CWM: Any rough parts about the journey? What obstacles did you encounter, and how did you overcome them?

(PHOTO: D. Florez)

DF: The trip itself was fairly rough. We were driving an antique vehicle through crazy environments – comfortable, but not efficient and unreliable for highway drives. … temperatures from 102 Fahrenheit to 42 degrees at 9000 feet. Our vehicle broke down 4 or 5 times- fortunately my Navy friend is an expert mechanic.

I suppose wildlife was a minor concern, as we were constantly in their space. Grizzly droppings, mountain lion tracks, and even listening to a pack of coyotes make a kill – kept us on our toes. Going from sea level to 9000 feet… we had to adjust the carburetor constantly, and I personally had to walk a little slower sometimes. We also regularly went a week without a shower since we were camping only… so finding rivers to clean in, was crucial.

CWM: Wow. So, thus entails the adventure that awaited. What impact did the change in scenery, shift in topography have on your perspective and approach with photography?

DF: Well, for landscape photography, I confirmed what’s been [understood] since cameras have been around: you have to wait. For the best shot, you must be [at the] right place, [at the] right time, or choose your spot, and be there at the right light. Also, move slow and take your time… if you explore a bit further, there’s plenty more interesting landscape to see.

CWM: If there is one or a few key ‘lessons from field’ that you can take away and pass on to another artist on a similar voyage, what would they be?

DF: The Greatest (capitalized for importance) thing I learned on this trip: BLM (Bureau of Land Management) land is the absolute greatest thing about our country. It turns out [that] part of our taxes [goes toward] the maintenance of large parts of our country, in some of the most beautiful areas, to keep them pristine. As a citizen, you’re- you, me, everyone- [are] allowed to camp at most designated spots for up to 14 days! 14 days!!!

CWM: Wow!!

(PHOTO: D. Florez)

DF: As a second note, sleep pads. I have an air mattress that fits in my cup holder, capable of keeping me (6’4, 210lbs) comfortably off the ground and able to be blown up by mouth in about a minute. Fantastic device. However! It will not keep you warm in low temperatures. My friend had a similar product, that was insulated with some kind of foam. It doesn’t fold down as compactly, but it’s significantly warmer and takes even less time to blow up. If you see an insulated sleep pad, it’s a fantastic purchase for almost every situation.

CWM: So what you’re advising is that we take full advantage of the BLM treasures, with proper insulation to boot… dutifully noted!

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Whether the advice is practical or purposed for the dreamer at heart, Dan Florez’s North American RetroModern Journey provides an in-depth look into how and why it’s critical to dream while we travel; and more importantly, why we ought to travel to dream. To view more of Dan Florez’s work, visit his website, Dan Florez Photography.

Here’s to your next adventure.

–Linds xxo