Encounters

The image, called The Traveler, is blurry. The mysterious human subject is a man but has been mistaken as woman. Strange light and shadow are all around, with golden luminescence falling from above onto the lone figure who is otherwise dark. The scene is absent of color and the landscape is so amorphous as to be almost anywhere . . . including another world.

The image is popular in my gallery. 0riginally a photograph, I manipulated it somewhat in photoshop. I print it on canvas, stretch it on stretcher bars like a painting, and work on it with other materials so that in the end it is called mixed-media on canvas.

To take a photograph is often called, “the capture.” Usually but a split second. I like the term because it describes indelibly recording a moment in time and preserving it for viewing later in the form of a picture. Most photographers are trained in camera fundamentals and techniques, then use fine equipment to set up shots that are esteemed for detail, contrast, proportions of light and dark, as well as subject matter that is universally acknowledged.

Not so this photo. In October 2008 I was living in Kashmir, India on a houseboat on Lake Dal, at the foot of the Himalaya Mountains. One day I set out with the owner of the boat to ride horses in the mountains and trek. The day was marvelous and included a stop in a village where I painted and met locals. On the the way back, as the sun was going down we drove on a primitive road that twisted down along a river. Occasionally we went by homes and people. I was rather delirious with joy, feeling the air streaming against my face, full of happiness for the encounters of the day and all the beauty I experienced. I had experimented with using my camera for shooting pictures that included my movement and the turning of the earth . . . in other words, taking photos that did not try and stop movement but rather used it in the composition. We passed a man in the road. He wore a phiran—a native costume that is like a cloak that goes to the ankles. I leaned out the window, turned back to look and took his picture. A “capture” that took half a second. The moment proved serendipitous for the image has been enjoyed by many.

When one sells, I make another and add different strokes and textures so that each piece is unique and the art keeps refreshing. Prints on paper also are available.

For more on this photo, see: Footprints

For more on Kashmir, type it in the search field at the top of the toolbar to the right.

Young People

A parade of young people have been entering my gallery and making an impression on me. Most often, their parents have been with them. The Boone Gallery is situated in the heart of Santa Fe, on the historic plaza. Across from my gallery is the city visitor center.

In the last week each day I experienced a memorable event involving youth. First, a woman came in with her little boy who was bursting with happy liveliness. He wore big glasses that seemed might fall from his face at any moment. As he bopped around the room from painting to painting she explained that he was artistically precocious and the family came to Santa Fe from Illinois partly because of all the art to be seen. As I stood next to her she pulled out her smartphone and scrolled through images, finding a photo of one of her son's drawings. It was remarkable for it's detail of an old fort on a hill, with a perfectly drawn American flag on a tall pole, fluttering in a breeze. I was impressed. With pride she said, "That's amazing for a five year old! I mean, the other kids are making stick figures!" By now the boy was next to us and he quickly corrected his mother, "I am six years old!" She smiled, "You were five when you made this." The boy went to the couch and sat down, rocking as he looked around, then jumping up again. I handed him a folding glossy card with images of my paintings. They thanked me and walked away. A few minutes later, the lad ran back to me holding the card. "Mr. Boone, you are the best artist!" Now it was I saying thank you . . .

The next day, a man came in with a boy about the same age as the first, and gently explained that he wanted his son to be able to see an artist working. This lad was much quieter, but very observant. They only stayed a few minutes. The father gratefully thanked me for being open to their intrusion, and they left, the boy wide-eyed and not saying a word.

Then came a father with his teen-aged daughter. He explained that his daughter was interested in art. He observed that my paintings were thick with paint and wondered how I made them. As they stood next to me, I opened my palette box and used my palette knife to mix colors together. The girl stood watching, transfixed. I said, "Most artists use the palette knife to mix colors and get new tones or colors. Then they put it aside to use brushes to apply paint in thin layers. I use the knife to paint." The little lesson lit them up and they walked out satisfied.

Several other stories unfolded. A young woman, 24 years old, came in while my assistant Therese was working. She loved a mixed-media piece called "Tango Passion". It is a rather large photograph of mine from from a tango club in Buenos Aires, Argentina. I printed on canvas and stretched it over stretcher bars. It depicts two dancers in intimate embrace on stage, smoke swirling around them in red lights. She felt it would be great in a home she was moving into soon. She takes tango lessons and explained she worked two jobs and might not be able to afford it. Then she left, promising to be back soon. She never arrived on the day she promised, and I thought it was a missed opportunity. The next day, Therese stopped in for a brief few minutes, and by coincidence at the same time, the young woman returned. She said she wanted to buy the art if she could make payments. I agreed. She said that her mother and grandmother were dancers.

Another day, two young women came in and I was immediately struck by their friendship and that one was white and the other very black. They looked around, obviously just for enjoyment, and one joked, asking did I ever "get stoned" and paint. I responded that I had not used drugs since I was about her age. "Spirit fills me up. I do not need to use anything to get high." She immediately was impressed with the answer and apologized, also saying that the colors and vibrancy might make people wonder what state of mind I had been in when they were created. Then she explained that the two of them were with a church mission that was getting young people off the streets and helping them straighten out. She pointed to a logo on the front of the tee shirts they were wearing. I reached behind my desk and gave them both a copy of my book, A Heart Traced In Sand, Reflections on a Daughter's Struggle for Life. "This is a book I wrote about my daughter who died of cancer when she was nineteen. I used many of her own diary writings." As we talked about tests and sufferings that we must face in life, the black girl looked in my eyes with a big tear falling down her cheek. "Why does life have to be so hard sometimes?" I assured her that though it is hard, there is something in us that can endure even the most severe trials.  "God never abandons us. Tests come to make us stronger." When the girls left, I felt deeply connected and sensed them for a long time afterward. One of them marched by my window later, smiling and lifting my book to wave to me.

Lastly, three generations of a family came in as I was arranging prints in my flat files. The old man was struck by one piece in particular. It's a big reproduction of a photograph called Kashmiri Children. I explained that I was in a Himalayan village in Kashmir, India,  making a landscape painting when many of the young people came around to watch me. I made a painting, but even better, took some remarkable photographs that afternoon, including the one he admired. He introduced himself and his daughter and mentioned they were in town for a family reunion. I showed him a large print of the picture on museum paper that he could buy.  "I want to bring my wife back." He promised to come back that afternoon or the next morning.
They left and I did not see him again so thought it was only a fluke. The next afternoon, the old man's daughter came back. "Did my father return?" I said no. "I want to buy that print for him . . . for Father's Day". Then she looked around and said she hoped he would not walk in while she was with me. "We will keep it a surprise," I said. "If he comes back, I will say it sold." She bought the print and payed to have it shipped to her father's house. "You will be able to enjoy it when you go visit him," I said.

How appropriate the string of youth events includes the sale of an artwork featuring young people.

Footprints

Two women came into my gallery recently, went straight to a new work and then stood in front of it talking. It was as if a conversation was occurring that included the artwork. In the picture, a loosely defined person is seen walking toward us in relaxed manner. He is dressed in a robe that could have been worn a thousand years ago. We cannot tell where he is for the details are blurred. He seems surrounded by light that illumines an otherwise dark scene. Golden rays seem to fall upon him from on high. Illumination surrounds his head.
“What does that remind you of?” asked one woman to her friend. “Yes, I know, “ answered the other. “Footsteps.”

 Just then another woman walked in, and was asked, “What does it remind you of?” “Footsteps,” she answered.

I talked with the ladies a while and explained that the piece is a photo I took in the Himalaya Mountain region of Kashmir. I was coming down from a trek late in the afternoon and as my car with driver passed this fellow, I turned around, leaned out the window and snapped his picture. It had been a remarkable day and this moment was part of it.
I sold a print of the original to one of the ladies and learned that “Footsteps” is a poem, formally called Footsteps In The Sand, without a known author. I read it years ago but had forgot. Here is this poignant verse:

Footprints in the Sand

One night I dreamed a dream.

As I was walking along the beach with my Lord.

Across the dark sky flashed scenes from my life.

For each scene, I noticed two sets of footprints in the sand,

One belonging to me and one to my Lord.

After the last scene of my life flashed before me,

I looked back at the footprints in the sand.

I noticed that at many times along the path of my life,

especially at the very lowest and saddest times,

there was only one set of footprints.

This really troubled me, so I asked the Lord about it.

"Lord, you said once I decided to follow you,

You'd walk with me all the way.

But I noticed that during the saddest and most troublesome times of my life,

there was only one set of footprints.

I don't understand why, when I needed You the most, You would leave me."

He whispered, "My precious child, I love you and will never leave you

Never, ever, during your trials and testings.

When you saw only one set of footprints,

It was then that I carried you."

When Summer Passes Away

A girl paddling on Lake Dal, Kashmir, India

During my daughter Naomi's eighteenth year, death was encroaching upon her so forcefully that she despaired thinking of her future. She wrote in her journal that she wanted to do volunteer work, but had a superstition that she would die when her work was accomplished. 

Naomi sensed her life was drastically condensed—shortened by her cancer. Nagging suspicions plagued her and she hated them. Death continually whispered into her ear, “Darling, you're life is ending! You only have weeks and months to live, not years and decades.” She found herself wary of accomplishing goals because her purpose would be fulfilled and life would abruptly end.

This is how death, when it touches us—not as an abstract thought but as an dominating force, can play with the mind.

Death signifies ending. When summer passes away, plant life goes dormant. When a bird dies, its song ends and it falls to earth. Nations and people expire, species go extinct; even great powers like stars in heaven die. Once the purpose for life has been realized, death is sure to come. 

Is anything eternal? Does anything exist that does not die? For this we must go beyond the material worlds. We must touch God, the Uncreated Creator of All. His unborn, undying Spirit inhabits and informs the spiritual realm. What lives there by His grace and love is preserved from decay and death. Naomi knew this and wrote, “I want God to know that my life is in His hands and I know this. If He decides it is my time to leave, well then that is His choice. What I want God to know is that I truly love this earth.”

Naomi Boone, 1/11/1980 - 7/5/1999

Be thou watchful, and strengthen the things which remain, that are ready to die; for I have not found thy works perfect before god. The Bible, Reveleation 3:2

To read my book about Naomi, go to: A Heart Traced In Sand

Between The Eyes

While preparing to show photographs at an exhibition, I have come across pictures I took in Kashmir. They are among the finest in my collection. Something marvelous must have been occurring that day while I visited the remote highlands of northern India near the Himalaya Mountains. I was in a village that held a loosely clustered group of maybe a dozen families. The autumn weather was getting colder each day, and from what I learned, the people were planning to leave and go to lower elevations before long.

I had set up an easel in a communal gathering place in the midst of wooden homes and started an oil painting. Folks came around to watch, while a wood fire blazed. Especially the children were entertained. Several times, I stopped to take pictures of them as they watched me. Although I was not using a tripod or posing my subjects, a remarkable clarity and beauty came through the lens and as the shutter clicked, all the elements were in my favor. The pictures came out superbly.

I never tire of looking at the faces. They are bright with natural goodness and show a rugged lifestyle close to the earth. The confused, glazed look of modern life is absent, and instead, candor and curiosity are apparent.

On closer inspection, I see that between the eyes, on the brow of some of the young people, a slight furrow exists. They seem intense in looking at me. What is this concentration that gives depth of expression to their face? It is a forthrightness that lets me know that I am being watched as much as I am watching. 

True Currency

I believe experience is the true currency. And among experiences, the practice of virtue is of the highest value. Money cannot hold memory, cannot inform or teach, and although it represents happiness to most people, essentially, it is inert and without life.

Four years ago, exactly this time of year, I lived on a houseboat in Kashmir, India (see my blog, My Astonished Eyes.) My floating world was Dal Lake, at the foot of the Himalayan Mountains. Water lilies drifted all around, and my houseboat was very comfortable with hand carved wood decoration throughout. I met local people who came to visit me and sell their crafts, and my servant Mansoor would paddle me to the nearby town of Srinagar.

Perhaps, a financial analyst would have advised me to keep my savings intact and not spend the way I was spending then—traveling around the world. The USA economy had begun a freefall and my savings were falling like most everyone else’s.  Yet, I was hungry to experience life in all its facets.

At the time, I called my existence and traveling THE DREAM. Along the way, I made paintings, took photographs and wrote. My bankroll was diminishing, but my inner treasury was growing rich with vivid life experience. Going forward without fear, I trusted that since I am DREAMING, a bigger hand controls destiny, and furthermore, scenes change—including scenes of birth and death, but EXISTENCE in THE DREAM only transforms—never ends.

Someday, THE DREAM will unfold my death. I believe I will witness this occurrence and then, step onto a different stage to continue to be in awe of how fantastic and inspired is the universe and its Creator.

Worth A Thousand Words

It is said that a picture is worth a thousand words. This picture contains far more than a thousand. In this capture of a moment in time, we are left to marvel at the ragamuffin group of children, standing in a row, holding hands and gazing at us with wonderment. They are mostly dressed in tattered, dirty, used clothes that sometimes do not fit. They are unaware of how they look to a foreigner, and seem happy. In the background, a group of fathers are turned away, looking off in the distance. Some dilapidated homes are behind the children at the foot of tall mountains. The light is clean and fresh, untainted by pollution. The setting is rugged and pristine.

I was living on a houseboat on Dal Lake, near Srinagar in Kashmir, and this day I was with a guide and we drove two hours into the mountains so that I could ride on horseback into magnificent scenery amid snow-capped peaks and verdant valleys of the Himalaya Mountains—where the peaks are the highest in the world. In Sanskrit, the name means, “abode of snow”. The world’s second tallest peak is K2, and is administered by Kashmir. I brought along my paints and canvas, for I am an artist by profession, and on the way, I studied the landscape, looking for a place to make a painting. A small village nestled below the winding road caught my attention and the guide said we could stop there on the way back. After the trek, we arrived, and as we made our way down the dirt track from the highway, I fell in love with the place, especially as I met the people. They were curious of me and did not mind that I set up my easel in the middle of their community to begin painting.

THE DREAM seemed so incredible. Only a week earlier, I had arrived in New Delhi from Africa. Within two days, unexpected events had whisked me away to the far north of India, into Kashmir, and to a houseboat on a lake, where I had a personal servant and complete freedom amid a breathtaking landscape. I could not have planned it any better.

Soon, a group gathered around me to watch. It seemed that I was great entertainment. I decided to paint the houses with their pitched tin roofs and the mountains towering behind them. In the foreground were a wood corral for animals, and an open area where I painted. The children came close, while a few older folk stood respectfully aside, watching as I sketched in the composition and then began laying in color.

My painting gave the villagers a fresh look at their surroundings, and maybe they felt a bit honored that I liked where they lived. At my side I had my camera, and every so often, I turned from my painting and looked into the faces of children gathered around me. I felt blessed to be “a stranger in a strange land”, and yet feel at home in the matrix of existence where every mortal being has its beginning and end.  I made my painting, and also snapped pictures. I could not finish the artwork because the day grew late, but took a photo for reference later.

The children are part of an inter-dependant community. The villagers work with their animals and the countryside, scraping a livelihood. I was there in mid-October and learned that they would soon migrate south to lower elevations for the winter. So the lifestyle is nomadic.

The people speak a Kashmiri dialect, not English. But so much can be said through gestures and a loving attitude. When I motioned that I wanted to take a picture of the kids, they assembled without a word, spontaneously forming a cohesive group to look directly at me. The group of youngsters lined up and held hands instinctively, all of them linked by an unspoken bond of familiarity and love. I did not tell them how to pose. They acted naturally and with perfect ease.

The photo shows some grimy faces, chapped from wind and cold. Obviously, their mothers, using only scissors, do their haircuts. They probably wear the same clothes every day. The village has no electricity, none of the “modern amenities” of the west, and I did not see taps for running water. Instead of material things being important, relationships are key. I imagine that responsibilities are shared, so that even the children feel responsible for one another. They sleep together in small dwellings, rise with the sun, adapt to daunting conditions of nature, are witness to births and deaths, see beloved animals butchered for food and hides, and get little schooling. They are mostly unaware of the world outside their borders.

The earth is close to these people and they show it. I liked the directness that made for some great pictures. The youngsters I call, “Star Children”, because their eyes are unclouded and shine like the bright evening stars.

Kashmir is 97% Muslim, so females cover their heads with a scarf. Many centuries ago, Kashmir was home to the Hindu religion, then Buddhism, but eventually became ruled by adherents of Islam.
Kashmiri cuisine includes boiled potatoes with heavy amounts of spice, cottage cheese, lamb cooked in heavy spices, lamb cooked in curd with mild spices, spinach, minced meat balls in tomato and curd curry, and the traditional feast involves cooking meat or vegetables, usually mutton, in several different ways. It is the first time I had tea with salt, a popular drink.

When we packed my paints and left the village, the air was cooling rapidly and the sun had disappeared behind the mountain walls. We drove the narrow rode toward Srinagar, and I felt happy. I leaned far out the passenger window and took pictures of the landscape flashing by. The blur adds a soft effect that can be romantic . . . losing details and indicating how elements meld together in simple shapes and colors. Later, I downloaded my pictures onto my computer, and now I marvel that THE DREAM had provided me such an unexpected and fulfilling experience in Kashmir.

This article is "one thousand words".

Here are a couple more pictures from the same day:

See more artistic photography from Steven Boone, including photos from around the world and Kashmir at Graphixshoot.com

Kashmir

During my ‘round the world odyssey, I stumbled into Kashmir, India by chance, or rather, as I prefer to look at fate; THE DREAM took me there. Kashmir is located in the northwest region of the Indian subcontinent. It is in a valley at the foot of the Great Himalayas and its civilization hearkens back millennium. In succession, the official religions have been Hinduism, Buddhism, and eventually Islam.  Most often, people have coexisted peacefully. Various nations have prized it and in recent history, Pakistan, India, and the People’s Republic of China have all claimed administration rights. Most of the people in Kashmir would like to have their own country and be autonomous. Now, India is the primary ruler and have troops stationed as occupying “peacekeepers”. It is a tense peace, and lately trouble has been brewing with frequent protests and killings of civilians by soldiers. That said, it remains one of the most beautiful places on earth.

I had not been in India more than two days when a man I met in New Delhi took me into his office and said emphatically that New Delhi was not a nice place to be and I should go to Kashmir. “I can arrange your travel and you can live on a houseboat with your own servant on a beautiful lake at the foot of the Himalayan Mountains. It is quiet, the nature is beautiful and you can do many things, like trek and visit the towns.” Then he told me the price, which was quite cheap. I had only had time to see the Baha’i temple in New Delhi and now my new friend was adamant that I leave immediately. It felt like a whirlwind had settled upon me, but I sensed something extraordinary so let THE DREAM do the talking. That afternoon I was flying to the city Srinagar in Kashmir. When I arrived, the man’s brother, Ash, packed me into his car and drove me to Dal Lake, where we were then rowed to my houseboat and I was introduced to my servant, Monsoor.

From the first, Dal Lake enchanted me. It is pristine and sparsely populated. Water lilies drift casually on its surface, amid reflections of snow capped mountains. The longer I stayed, the more local people I met, and especially vendors who paddled up to my dock and showed me their wares. A fellow called Mr. Wonderful The Flowerman arrived regularly, selling huge bouquets of chrysanthemum’s, dahlia’s and other brightly colored flowers.

As I bought things, I was also invited to special occasions, and at a wedding became the de-facto photographer, even gaining privileged entrance into the bride’s quarter to photograph her amid her retinue. October-November is the wedding time in that area, so sometimes weddings occur twice or three times a day during those weekends.

I have so much to tell about my experiences at Dal Lake and hope to go back to see my friends, but must wait for the right time. Meanwhile, I have been doing business with a dear man named Gul who sends me handmade embroidered leather and suede purses, leather and sheepskin gloves and hats, and embroidered sheepskin coats and jackets. The business I give him helps entire families survive. In the next few days, I will post a special look at his goods, and more photos from Kashmir, so watch for it.

Read about my journey to Kashmir: My Astonished Eyes.
More Kashmir: Surprises
See more artistic photography from Africa and India.

My Astonished Eyes

I arrived in India with only vague ideas about what to do and how long I would stay. In less than 48 hours, THE DREAM whisked me away from New Delhi on a magic carpet ride and set me down on a big houseboat that I have all to myself on a pristine lake at the foot of the Himalayan mountains in Kashmir. Furthermore, I have my own personal servant, Mansoor, who prepares my meals, takes care of my room, escorts me everywhere and even puts a hot water bottle in my bed at night before I retire. I did not plan any of this . . . it just arrived with THE DREAM.
The population in these parts is 90% Muslim, so I hear the call to prayer five times a day. The people are upright and proud, very sturdy and live close to the earth. Religion is central to their life and they get up at 5:30 AM with the first call to prayer. Most of them have had little schooling and the government does not do much to help.


People shuttle around in canoes, rowing themselves wherever they want to go. They either crouch at the tip and pull themselves along, or row from the back. I have not seen a single motorboat. Various vendors come by in their boats, including Mr. Wonderful the Flowerman. He glides around with his boatfull of colorful flowers he has grown. I bought a bunch of dahlias and zinnias from him, and also bought a variety of seeds from gorgeous Kashmir plants. Sometimes, when I am on the lake, amid water lilies and lotus plants, with the majestic mountains all around, the air pure, quiet, and peaceful, I feel bliss, and wonder, am I in heaven?
Srinagar is the city close by. To get into town, I must board a dinghy and be rowed (about ten minutes) to a landing where I can catch a waiting taxi. All my costs are included in the package, so I do not need my wallet, but simply enjoy the ride. I am living for less than it cost me in Europe.
Everyone treats me well, and often I am asked, “Are you happy?” There is a small community around the houseboats and I am already part of a circle and continually invited places. I will go to a wedding soon, and tomorrow I have been invited to lunch with a family and to go for a drive. Traditionally, weddings are held in the fall and they are big events with lavish food, music, dancing and many hundreds of people.
There are four seasons, and it is chilly at night and then warms during the day. The local language is Kashmiri, but people usually know a little English. My landlord knows English very well and we have good conversations. My servant Mansoor never went to school but knows at least four languages—all learned from tourists. His wife just had a baby, their second child.
Kashmir is offering me so much, the days are flashing by, so I am staying two weeks instead of one. Certainly, THE DREAM will surprise me again, so I keep my thoughts from straying too far away from the present, and simply trust what is ahead will be unfolded before my astonished eyes.