That morning, activity abounded in the saguaro. There was an acoustic jam on the tailgate of a truck and introductions to yet more new additions to the crew. There was a group of the women doing yoga in a desert wash across the road. Then came the obligatory visit from the cops mid-morning. "All your vehicles will be cited if not moved immediately! You are not in a designated parking area." There wasn't another sign of human life for miles and miles and yet we've gotta move. You can always rely on the politzei to call an end to unscheduled and un-permitted fun.

On the road again, and we're really a mob now.

Joining the many art cars at this point was 33-year-old film-maker and Harrod-amigo David Silverberg and his crew in Jack Splat, the spartanly decorated sixties model Caddy with oxidized maroon paint. The only discernible decor on this topless Caddy were a couple of clumps of oven-fired ceramic goo swirled in red, pink and gray puke-like colors and splattered across the trunk. Had I studied the clumps and their precise location on the car and tried to gauge their relation to the car's name, I might have figured out the mysterious meaning without having to ask. But I did ask. And the answer? Think Jack Kennedy, Cadillac, Dallas.

Members of David's camera crew included set-designer & actor Jeff Vanze, 33, and Oakland cinematographer, social revolutionary, biophysicist, baker, and actor Frances Nkara, 29. From here on out, the Jack Splat crew would film our every movement, though mostly focusing on the antics of their film's focal point, Harrod Blank. In Houston at journey's end, Frances would tell me that they had shot 4000 feet of film in our one week on the road.

Unless otherwise noted, all images are copyrighted by the artists and/or
by Pineapple Publishing and Consulting
Art Cars in Cyberspace ©2004 Pineapple Publishing and Consulting
Contact us at artcars@artcars.com

Last update April 1, 2004