The Confluence Lab, in conjunction with the University of Idaho's Prichard Art Gallery, is seeking creative, visual works for an online exhibition series, Stories of Fire. AIF Residency Application Form Artist Contact Information Name Full Address Email Website Instagram Short Biography (Please no more than 250 words.) Application Questions Attempts to respond to questions below in 500 words or less is encouraged and much appreciated. Why are you interested in this residency? How do you anticipate your experience with fire impacting your current creative work, future projects and professional goals? Working with fire can be both exhilarating and challenging. Tell us about your experience 1) working as part of a team and 2) working outdoors and/or engaging in strenuous physical outdoor activity. Tell us about any ecological, botanical, fire, outdoor knowledge or skills you have. Tell us about your relationship to the Pacific Northwest or adjacent regions. How do you hope to bring your experience of prescribed fire back to your community? (Please be as specific as possible.) Reference Information Please provide information for references that can speak to your readiness and compatibility for this opportunity. Reference #1 Relationship to Reference #1 Email Contact Phone Contact Reference #2 Relationship to Reference #2 Email Contact Phone Contact apply AIF is in collaboration with the Confluence Lab and the Prichard Art Gallery and made possible by the generous support of : return to AIF Residency information >

featured artist Martina Shenal Tucson, AZ Martina Shenal is a Professor of Art in the Photography, Video & Imaging area at the University of Arizona, Tucson. She earned her MFA from Arizona State University and BFA from Ohio State University. She has received grants and fellowships including a Faculty Collaboration Grant for her project Space + Place from the UA Confluence Center for Creative Inquiry; WESTAF/NEA Regional Fellowship; Visual Art Fellowship from the Tennessee Arts Commission; Professional Development Grants from the Arizona Commission on the Arts; and a Contemporary Forum Material Grant from the Phoenix Art Museum. Her works examine human interactions within the landscape–highlighting the ways humans alter, mediate, and represent it. Since 2019, she has focused her work on framing the rapidly changing climate and the accelerating pace and impact of rising seas, hurricanes, super typhoons, and wildfires. featured artwork "Slash Piles 07" archival pigment print, 28.25in x 22.25in, 2022 "Slash Piles 06" archival pigment print, 28.25in x 22.25in, 2022 "Slash Piles" archival pigment print, 28.25in x 22.25in, 2022 responding to Fuel Loading Over the course of the past decade, I've been engaged in fieldwork in the Newberry National Volcanic Monument in central Oregon. In the fall of 2020, as a respite from the fires that had been burning for 7 weeks in the Santa Catalina mountains here in Tucson, I made my way to Oregon, crossing the border just as the numerous wildfires there began burning. The photographic work for the series 20/20 (notes on visibility) was produced over multiple weeks as smoke from fires burning in California, Oregon, and Washington accumulated in the high desert. The series traces a line from the central high desert westward to the coast, moving from the impacts of smoke to coastal fog. The images included here were made in late November 2022, when I began photographing large slash piles that were staged for upcoming prescribed burns near La Pine, Oregon. I was struck by the sheer size and scale of the accumulated material–it felt like I was entering a series of dwellings or villages. My research led me to read about current efforts to create healthy forest ecosystems by reducing fuel loads during the winter season and reverse the decades-long fire suppression strategies that, in combination with drought-related climate warming effects, beetle infestations and the proliferation of non-native vegetation growth, have left the forests vulnerable to intense wildfires. more from Martina's perspective The slash piles are concentrations of leftover materials associated with ongoing forest management to help maintain and restore healthy ecosystems while reducing hazardous fuels loading. La Pine, Oregon. Also from the series 20/20 (notes of visibility) Smith Rock State Park (collapsed crater), Terrebonne, Oregon. Images made in early September 2020 amid wildfires burning in the west, including CA, WA, MT, & OR Markers in area of ongoing thinning and tree removal, La Pine, Oregon Also from the series 20/20 (notes of visibility), Devil’s Chain (rhyodacite flow), Cascade Lakes Highway, Oregon The series 20/20 (notes on visibility) bears witness to the effects of 2,027 raging wildfires that were burning in the west while doing fieldwork in the Newberry National Volcanic Monument in central Oregon. The title references the ability to see with perfect vision, but the chronology of images produced on this trip reflects just the opposite. The air quality in the high desert was deemed the most hazardous in the world at that time, as similar conditions were playing out across the West, fueled by a mega-drought, high temperatures, and strong winds. Chat back to exhibition Chat

featured artist Meredith Ojala Kenmore, WA Meredith Ojala is a multi-media artist and activist from Seattle. Her artwork often delves into the emotional landscapes of environmental and social-justice issues. She worked on environmental campaigns while studying sociology and studio art at Princeton University. She is currently splitting time between Seattle and the Arctic of Sweden. featured artwork "All I See is Red" oil on canvas, 18in x 24in, 2018 responding to Ground Truths After being evacuated from the Erskine fire in 2016, I moved back to the Pacific Northwest hoping the heavier precipitation would ease the wildfire risk. After managing a meditation retreat in Southern Idaho 2018, I had great difficulty driving back to Seattle through all the wildfires in Eastern Oregon and Washington. This painting is part of a set of paintings made at a time when wildfires felt all-encompassing, when the world felt like it was on fire, and my dreams were turning red.These paintings are about sleeping with fire and how wildfires spread into our dreams and subconsciously color our perception of the world. They take us into feelings of falling asleep with wildfire in clear view from our home window; to feelings of being woken up by water-bombers. Wildfires are one of the most beautiful and simultaneously terrifying landscapes I have ever seen. They have taken over many of paintings even when I had no plans to incorporate them. more from Meredith's perspective ... This image was taken near Meredith’s old studio, which was situated on traditional Nehelam, Clatsop, and Chinook territory. Inspiring autumn landscape on traditional sdukʷalbixʷ (Snoqualmie) territory. Meredith’s studio in Haida Gwaii. A collection of political and wildfire landscapes-in-progress fill the space. Chat back to exhibition Chat

featured artist Enid Smith Becker Bellevue, WA Enid Smith Becker lives and works in the Seattle area. Inspired by the complex dynamic between humans and the surrounding world, her paintings remind us of how our interactions with nature can transform ourselves and the land. Enid studied art at the University of Washington and has taught art in secondary school. Her paintings are in numerous collections around the US and abroad. In her work for this show, Enid presents a fluid, multifaceted experience that mirrors our own interactions with place and time as we frame our experiences through the screen of a mobile device. The sharp edges of the planes within the painting represent the human influence on the land. The layering of multiple perspectives invites the viewer to see the world through shifting lenses of time, scale, and space. The work is painted in acrylic on canvas. featured artwork "Witness" acrylic on canvas, 30in x 48in, created in response to the Maple fire that burned on the Olympic peninsula in 2018 responding to Ground Truths Witness was created in response to the Maple fire that burned on the Olympic peninsula in 2018. This is a painting of contrasts- the contrast of the organic of the old growth forest and the sharp cut edges of the windows of fire (representing the human impact), the contrast of the cool green of the woods and the hot orange of the fire. If ground truthing establishes the veracity of a map, I see my painting as a verification of reality -a kind of map that asserts the veracity of climate change. Like all my paintings, there is an intentional beauty in the depiction of the natural space in order to draw the viewer in. But the beauty of the old growth forest is broken by the windows of fire. A reminder of what has happened and what will happen if we don't work to protect our natural world. The painting presents a kind of ground truthing for the future- both a warning and an admonition. As a native Washingtonian almost all of my paintings are inspired by the pacific northwest. It's a place I know well and love. I spend a lot of time outdoors. The places I explore and the photos I take are the starting point for my paintings. Within each painting the windows I create tell a story about the place be it a change of season, a new perspective or an event such as a wildfire. more from Enid's perspective Salish Tides, acrylic on canvas, 48in x 72in The Salish Sea, Hood Canal, is a place Enid often goes. Her one room cabin is surrounded by old growth forest. The beach view is the one you see here. It was also from this perspective that Enid watched the Maple fire burn on the Olympic peninsula in 2018, inspiring the painting, Witness. Spring Stream, acrylic on canvas, 24in x 48in This work is inspired by an area that Enid hikes through, just east of Seattle. As is often the case in Enid’s paintings, the sharp edges of the frames within the image represent the human view and action upon the land. Winter Woods , acrylic on canvas, 48in x 72in Enid painted this work a year ago, inspired by a winter storm and how snow drains color from the land it covers. The trunks of the Douglas firs are brown and their branches are dark green, but the effect is one of a black and white landscape. Brighter Haze , acrylic on canvas, 30in x 40in This painting was inspired by the song “Brighter Haze,” written by Enid’s friend, the singer songwriter Kristin Chambers. Chambers wrote it while watching the color of the sky change during a forest fire. Chat back to exhibition Chat

Jennifer Ladino, Erin James, and Teresa Cavazos Cohn are the Co-Founders of the Confluence Lab. Jennifer Ladino LAB CO-FOUNDER Professor, English Department University of Idaho jladino at uidaho.edu Erin James LAB CO-FOUNDER Professor, English Department University of Idaho ejames at uidaho.edu Teresa Cavazos Cohn LAB CO-FOUNDER Associate Professor, Department of Natural Resources & the Environment, University of New Hampshire; Climate Change Fellow, Harvard Divinity School teresa.cohn at unh.edu FELLOW IN RESIDENCE Environmental Humanities, University of Idaho, lhampton at uidaho.edu Leah Hampton's website Leah Hampton PRE-DOCTORAL FELLOW Doctoral Candidate , Environmental Science, University of Idaho Sasha Michelle White PROJECT AFFILIATE Regional Fire Specialist: Willamette Valley/North Cascades, OSU Extension Fire Program Kayla Bordelon GRADUATE RESEARCH ASSISTANT Doctoral Candidate, Environmental Science, University of Idaho Jack Kredell GRADUATE RESEARCH ASSISTANT Doctoral Candidate, College of Natural Resources, University of Idaho Phinehas Lampman Devin Becker PROJECT PARTNER Program Head Library, University of Idaho Devin Becker's website Ruby Fulton PROJECT PARTNER Composer and Musician Ruby Fulton's website Kristin Haltinner PROJECT PARTNER Associate Professor of Sociology, Director of the Academic Certificate in Diversity and Inclusion Jeffrey Hicke PROJECT PARTNER Professor of Geography, University of Idaho Stacy Isenbarger PROJECT PARTNER Mixed-media Artist Associate Professor of Art + Design , University of Idaho Stacy Isenbarger's website Benjamin James PROJECT PARTNER Clinical Assistant Professor, Film & TV studies, University of Idaho Leda Kobziar PROJECT PARTNER Associate Professor, Wildland Fire Science, Director, Master of Natural Resources Dilshani Sarathchandra PROJECT PARTNER Associate Professor of Sociology , University of Idaho Evan Williamson PROJECT PARTNER Digital Infrastructure Librarian, University of Idaho Evan Williamson's website RESEARCHER Creative Writer, Bellingham, WA North Bennett GRADUATE RESEARCH ASSISTANT MFA, Art + Design, University of Idaho Megan Davis website Megan Davis GRADUATE RESEARCH ASSISTANT MFA, English / Natural Resources, University of Idaho Kelsey Evans GRADUATE RESEARCH ASSISTANT MFA, English, University of Idaho Emily Holmes GRADUATE RESEARCH ASSISTANT MFA, English, University of Idaho Daniel Lurie GRADUATE RESEARCH ASSISTANT MFA, English, University of Idaho Isabel Marlens John Anderson AFFILIATED MEMBER Professor, Virtural Technology Lab Co-Manager, University of Idaho Bert Baumgaertner AFFILIATED MEMBER Associate Professor of Philosophy University of Idaho Kerri Clement AFFILIATED MEMBER Postdoctoral Fellow, History Department, University of Idaho Rob Ely AFFILIATED MEMBER Professor, Department of Mathematics and Statistical Science, University of Idaho Matthew Grindal AFFILIATED MEMBER Assistant Professor, Department of Culture, Society & Justice, University of Idaho Leontina Hormel AFFILIATED MEMBER Professor of Sociology University of Idaho Graham Hubbs AFFILIATED MEMBER Associate Professor of Philosophy, Chair of Politics and Philosophy, University of Idaho Ryan S. Lincoln AFFILIATED MEMBER Assistant Clinical Professor of Law, University of Idaho Markie McBrayer AFFILIATED MEMBER Assistant Professor of Political Science, University of Idaho Ryanne Pilgeram AFFILIATED MEMBER Professor of Sociology, University of Idaho Aleta Quinn AFFILIATED MEMBER Assistant Professor of Philosophy, University of Idaho David Roon AFFILIATED MEMBER Clinical Assistant Professor of Ecology and Conservation Biology, University of Idaho Scott Slovic AFFILIATED MEMBER University Distinguished Professor of Environmental Humanities, University of Idaho Rochelle Smith AFFILIATED MEMBER Reference & Instruction Librarian, University of Idaho Alexandra Teague AFFILIATED MEMBER Associate Chair, Professor of English, Co-Director of Women's, Gender & Sexuality Studies, University of Idaho Alexandra Teague's website Lee Vierling AFFILIATED MEMBER University Distinguished Professor, Director of the Environmental Science Program and Department Head, Natural Resources and Society, University of Idaho

photo credit: Lisa East featured artist Lisa Cristinzo Toronto, Canada Lisa Cristinzo is a queer painter and installation artist and a first-generation Canadian settler living in T’karonto on Turtle Island. Cristinzo’s large-scale painting installations traverse natural history, climate hazards, materialism, and magic. She holds a BFA from Ontario College of Art and Design University and an MFA from York University, where she received a graduate scholarship and a Social Sciences & Humanities Research Council grant for her research into fire and climate change. Along with being an artist, she has spent over a decade managing arts programs and community cultural hubs, including Artscape Gibraltar Point, an artist residency and event space on Mnisiing/Toronto Island. featured artwork "Fraternal Fire," acrylic on wood panel, 77in x 60in, 2023 "How to write a painting," acrylic on wood panel, 36in x 48in, 2022 "Marked Trail," acrylic on linen, 60in x 82in, 2023 "Birch Bark is like Snake Skin," acrylic on wood panel, 36in x 48in, 2021 responding to Fuel Loading The basis of my research is the concept of materialism, as well as the lustrous objects I consider when painting. I use fire and its process as a metaphor, an illustration of environmental impact and a response to materialism. Through fire, I have drawn links between my own illness (cancer diagnosis) and the imbalances of the planet. I had developed a habit of excessive accumulation, a theme that presented itself in my work, my art practice, my health, and my relationships. This cyclical theme is what I call “the build up, the burn and the burn out.” This problem is not unique to me; I extend this behavior to our entire species, a species with the capacity to harness excessive amounts of materials from a fragile earth. Our obsession with possessions has caused a warming planet, leading to intense weather systems and catastrophic events. The planet, like many of us, is experiencing the build up, the burn, and the burn out. The subject matter for my current body of work came to me while staying in a stone cabin. I started each morning by collecting kindling and lighting a fire in the wood stove, and soon came to see the pieces of wood, newspaper, burnable objects, and ash as triangular compositions suitable for painting. As a result, the fireplace became a still life within a frame. I began to postpone the fire each morning to sketch the arrangement prior to burning. Building a fire became a means of building a painting. My paintings rarely actually show fire, instead the focus is on the potential for fire, a hidden energy moving through a landscape looking for points of friction. Friction, oxygen and fuel transform fire from a potential to a reaction. In the painting Birch Bark is like Snakeskin , all the unscorched materials in the world gather on top of one last stump to drink water from its center. There is gentleness in the gathering, though, because the desire to drink from what is left could cause it, too, to endure fire. more from Lisa's perspective Plein air painting at Halls Island Artist Residency located on an off-grid island in Haliburton, Ontario, CANADA where Lisa painted Fraternal Fire amongst the red and white pines. Large collection of Lisa's daily matchbook paintings, often done in the woods or in reference to them. Fraternal Fire in progress: Lisa sweeping paint with a large paint brush back and forth en plein air during the Halls Island Artist Residency. Studio shot work in progress for Marked Trail . photo credit: Lisa East Chat back to exhibition Chat

AIF crew 2024 Jason Rhodes /the 181 Bend, OR ( and elsewhere ) Artist collective the 181 is based in Bend, Oregon; Eugene, Oregon; and Old Fort, North Carolina. As far as they can tell, the 181 has been working together since 2007 when they found themselves gathered by the Pacific Ocean with a glim glam golden Q, roughly 10 yards of transparent lavender vinyl, and a broken hold on the sea’s reflection. The 181 is interested in composing situations that generate experiential spaces which expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole. Artists, a physicist/electronic engineer/musician, a mushroom forager/rockhound, and a former linotype operator—any attempts to formalize their practice are viewed with distress. Jason Rhodes Tom Hughes Abby Donovan Brandon Boan the 181 TREX report fast from afar his friends hurried heavily gazing The 181 Report Refrain for Confluence Lab June 2024 ____________________________________ KET IO> slurred A star, or the like of a star, that is hurled down by the night. And the work, like the wind, has direction. (Any parameter that is specified is a function of an array) Within “the” fire woke the thirst• thickening radiance from all physical being instrumentation noted increased in degree by proximities to flickering shoreline for the quench of flame Smoke also has direction. But smoke has direction within direction within direction...so the work is more like smoke than like wind. courtings of erasure a longing for the burning lick the promise of things beyond these SOUND CARRIES open :end finding the position of a distant object the 181: Brandon Boan, Abby Donovan, Tom Hughes, & Jason Rhodes we were standing on the shore |non-planetary twilight> the 181: Brandon Boan, Abby Donovan, Tom Hughes, & Jason Rhodes

Part of the larger Stories of Fire Atlas Project , Where There Is Smoke is a crowd-sourced digital map that documents experiences of wildfire smoke in the Pacific Northwest and further afield. Once built, the map will serve as a spatial and temporal nexus of images and stories connecting the smoke in the air to the historical, social and ecological conditions and pre-conditions of fire on the ground. Through the inclusion of many voices, Where There is Smoke will highlight how changing climate and increasing wildfire are impacting communities across seasons and topographies and cooperatively build a greater understanding of how fire and fire management intersect with environmental justice. Help build the map. Contribute your Smoke Story. This project is funded by the Andrew W. Mellon Foundation’s “Just Futures ” Initiative . COMING SOON explore the Where There is Smoke... website! This map is part of The Confluence Lab’s Pacific Northwest Stories of Fire Atlas Project. Next

featured artist Katie Kehoe Tallahassee, FL Katie Kehoe is a multidisciplinary artist who creates survival architecture, objects and wearables which are used in performances and site-specific installations. Her work is designed to engage the public to reflect on changing climate and sustainability and has been presented across the US and Canada, including The Hirshhorn Museum (Washington, DC), The Contemporary Museum (Baltimore, MD), Center for Maine Contemporary Art (Rockland, ME), RedLine Contemporary (Denver, CO), Emerge Art Fair (Washington, DC), Arlington Arts Center’s Inaugural Regional Biennial (Arlington, VA), SummerWorks Festival – LiveArt Series (Toronto, ON) . She has had solo shows at VisArts (Rockville, MD) and Type Books Gallery (Toronto, CAN) and is a member of the Atlantika Collective and Cultivate Projects artist collectives. As an artist, Katie values cross-disciplinary collaboration and recently worked with Dr. Jagadish Shukla, one of the nation’s leading climate scientists, to create Breaching Waterways with Provisions Research Center for Arts and Social Change for CALL/Walks. Katie was raised in Cape Breton, Canada, completed an MFA from the Mount Royal School of Art at the Maryland Institute College of Art in Baltimore, Maryland, and is currently based in Tallahassee, Florida, where she is an Assistant Professor in the Department of Art at Florida State University. featured artwork "Wildfire Shelters for Small Animals" 35.66754°N, 105.43550°W, Santa Fe National Forest, NM, photographic documentation of site-specific installation, 2023 responding to SIGHTLINES Climate change and extreme weather have been the subject of my work since 2016 and for the past two years, I’ve been specifically addressing the increased instances and intensity of wildfires resulting from climate change. During an artist residency at the Santa Fe Art Institute, I created a series of wildfire shelters inspired by New Mexico’s largest recorded wildfire: the 2022 Calf Canyon and Hermit's Peak fires merged to burn over 340,000 acres east of Santa Fe. After creating the shelters, I installed them in areas where the fire burned and documented them with digital photography. I think of the wildfire shelters I create as “survival architecture”: they have the appearance of providing protection from flame, heat, and smoke exposure, but are sculptural objects intended to be symbolic and engage the viewer to consider the implications of climate change. Are we approaching a time when it will be necessary to carry these sorts of lifesaving devices around with us from day to day? more from Katie's perspective Katie in Santa Fe National Forest, 35.65350N, 105.42818 W, when carrying out a temporary site-specific installation featuring three portable wildfire shelters she created. To locate installation sites, Katie drove in and out of dirt roads leading in and through Santa Fe National Forest where the Calf Canyon and Hermits Peak wildfire burned a year before. This map documents the area burned when the Calf Canyon and Hermits Peak fires merged to become the largest wildfire in New Mexico’s recorded history. My feet on the ground in Santa Fe National Forest. Chat back to exhibition Chat

Our Changing Climate Finding Common Ground through Climate Fiction Jennifer Ladino, Kayla Bordelon & Idaho Community Members funded by the Idaho Humanities Council Opportunity Grant 2019-2022 Modeled on the successful "Let's Talk About It" series, Jennifer Ladino (English and Environmental Science, University of Idaho) and Environmental Science PhD Kayla Bordelon hosted conversations about climate change in four Idaho communities: Coeur d’Alene, McCall, Grangeville, and Lewiston. Ladino and Bordelon, both former National Park Service rangers, drew on NPS audience engagement strategies to invite discussion and encourage participants to share personal stories. They used Barbara Kingsolver’s climate change novel Flight Behavior as a gateway to identifying common ground and common concerns about climate change, and to start dismantling communication barriers that may impede progress on environmental problems in rural communities. Next

featured artist aj miccio Springfield, OR aj miccio is a multidisciplinary artist and storyteller. His work explores the connections between science, design, technology, and environment. He graduated from Colorado State University with a BFA in drawing and graphic design and more recently earned a master's degree from the University of Oregon in journalism. featured artwork "Davis Burn Scar," ink on bristol, 11in x 14in, 2023 responding to Fuel Loading My featured drawing is based on the 2003 Davis burn scar in the Deschutes National Forest. Sketches were made on location, where the burn scar has regrown with shrubs and small trees. Some large trees still stand like skeletons above the new foliage. The final drawing was made under the smoke of the Bedrock and Lookout fires in the summer of 2023. more from aj's perspective 2023-09-07. South of the Three Sisters Peaks, charred trees stand above 20-year growth in the Davis Burn Scar. Chat back to exhibition Chat

featured artist Gerard Sarnat Portola Valley, CA Poet-aphorist Gerard Sarnat is widely and internationally published. He has been nominated for a Science Fiction Poetry Association Dwarf Star Award, won San Francisco Poetry’s 2020 Contest/Poetry in Arts First Place Award/Dorfman Prize, and has been nominated for handfuls of Pushcarts and Best of Net Awards. Gerry is widely published in academic-related journals (e.g., University Chicago, Stanford, Oberlin, Brown, Columbia, Harvard, Pomona, Johns Hopkins, Wesleyan, University of San Francisco ) plus national (e.g., Gargoyle, Main Street Rag, New Delta Review, MiPOesias, American Journal Of Poetry, Poetry Quarterly, Free State Review, Poetry Circle, Poets And War, Cliterature, Qommunicate, Indolent Books, Pandemonium Press, Texas Review, Brooklyn Review, San Francisco Magazine, The Los Angeles Review and The New York Times) and international publications (e.g., Review Berlin and New Ulster ). He’s authored the collections Homeless Chronicles (2010), Disputes (2012), 17s (2014), Melting the Ice King (2016). He is a Harvard College Medical School-trained physician who has built and staffed clinics for the disenfranchised, a professor at Stanford and a healthcare CEO. Currently he devotes his energy/resources regarding climate-justice by serving on Climate Action Now’s board. Gerry’s been married since 1969 with his progeny consisting of four collections (Homeless Chronicles: From Abraham To Burning Man, Disputes, 17s, Melting Ice King ) plus three kids/six grandsons — and looks forward to potential future granddaughters. featured work Not So Wide Or Hard-Hitting Home-Hardening Town Center organized an Earth Day symposium On how to mitigate fire risks In forest-rich Northern California Portola Valley. I’m impressed & overwhelmed With expert gung-ho-ness DIY Preparedness Panel Neighbors spending $75K easy. TMI sesh, which sadly was attended on Zoom by 7 Includes few presenters/looks like Less than 5 in-person, clearly didn’t reach masses. At end when wrapping up, emcee Who didn’t seem to mean or appreciate her humor Queries, Any burning questions? Man asks if large animals evac’ed to Cow Palace. (Slide said to be borrowed from City of Beverly Hills) responding to SIGHTLINES My hybrid piece dwells on our local difficulty in dumbing-down actions so they are practical for wide-scale, strong-as-the-weakest-community-link implementation and includes an image with sightlines for wildfire resistance. more from Gerard's perspective These are a variety of indoor and outside sightlines from Gerry's Northern California home on 2.3 acres in a wild oak forest. His family's fire risk is very high: the local fire chief, who inspects the property every few years, says fire's approach is a matter of WHEN and not IF so they are mindful to prepare the landscape nearby. Chat back to exhibition Chat