In a way, it’s crazy. It’s backwards. The form of something very functional becomes the theater of what we are doing. The earth is shaped by wind and water. The shadows express the structure of the view. The photos document the process of time with no control over the framing, lighting, or decisive moment. Seep, spring, creek, arroyo, wash: What came out here is put over there. If you set sheets of glass in the soil at angles, the water will find a way around them. If you set them in a square, they’ll collapse. The essence of landscape is culture and nature stepping on each other’s shoulders wanting to change something.
A native of the central California, M. Kaat Toy (Katherine Toy Miller) has lived in twelve states while teaching and writing. Taos, New Mexico, is her permanent home. She has an M.F.A. in creative writing from the University of Arizona and a Ph.D. in English from Florida State University.
“The heads are useless,” the painter explains. “They don’t work anymore. So I gather around me friends from the natural world–flowers relieved of their vibrancy, seedpods dried and broken open, bones of animals from air, water, and land. They bring me the news–releasing me from personal history like the flood that washed through my studio. A shriving. Every day I put the news down in shrines that celebrate not making but that which is already made–made for us. They emanate energy. Great beings of light here to help us remember what we are and who we are show themselves–the interface between the possible and the impossible.”
A native of central California, M. Kaat Toy has an M.F.A. in creative writing from the University of Arizona and a Ph.D. in English from Florida State University. She is published in a variety of genres. Her collection, In a Cosmic Egg, is forthcoming from Finishing Line Press (www.finishinglinepress.com).