When I invited Steed Taylor to submit a proposal for a project in Joshua Tree, I knew it would have a tribal bent and be community oriented. What I didn’t know is that it would be 29 feet long, 5 feet wide and comprise of many tons of concrete.
The 1pm guests were up from Palm Springs and they heralded a good showing from the “low desert”. Many more folks turned up – the local community, artists, art academics, art critics, curators, a gallery director and friends from as far away as LA. Steed led a dedication ceremony at 3pm and then every half hour a set of four demon bowls was buried at each corner of the property. Each time, guests were invited to carry the bowls down and assist in burying them, thus both doing the job at hand and witnessing the suppression of anxieties. I knew I would sleep better that evening
I am very grateful for Steed’s time here and for his huge success in bringing this project to fruition. I am also grateful for the community participation which informed and enlivens the work. The Knot remains now as a permanent installation at BoxoHOUSE, a symbol of continuity and progress as well as a wonderful place to sit or lie and contemplate the rocks, the valley or the very large sky.
Will’s intent was to make simple gestures in the landscape using a set of materials (mylar sheeting, mylar strips, silver tape and lengths of 2×1 lumber), shoot images and be guided by what he found. Given that desert light is harsh for most of the day, he was intent on shooting at dawn and dusk. As some of the setups required two sets of hands to hold steady during the shoots, I was called to assist – a fun role from which I learned a lot. I also witnessed some amazing boulder climbing and contortions as Will moved around finding the best framing for his shots.