On this morning I took a hike in a part of the world I know very well. Yet while the path was familiar, the rocks seemed to get more alien the more I stared at them. I kept trying different angles and colors, but I never did manage to nail down what I was looking at. I guess it’s sort of the visual-arts equivalent of proofreading: the more you concentrate on something, the more odd and unfamiliar it seems.
There are some roads I have traveled so often that I have permanently etched into my memory every landmark, every sign, every single geographical feature along the way. The seventy miles between Colorado Springs and Denver is one of those stretches. When I was a kid, I knew exactly how far we were from our destination by which butte we passed; the profiles of every mountain in every season; and which hill was next to appear on the horizon. Every time I go back, no matter how much farmland has been converted into brand new suburbs, the mountains never change—and my mental map gets retraced with the same lines. On this day, I sketched while the Tailor drove, but I just as easily could have done this from memory—laying out every hill and peak along the route on one long, continuous sheet of paper.
Probably the most spectacular thing about Rocky Mountain National Park is the alpine tundra landscape above the treeline. The Tailor and I found a well-marked hiking trail up there and struck out, hoping to catch a glimpse of a pika or two among the glacier-strewn rocks.
What we got instead was a little more than we bargained for: a whole herd of elk caught up with us, stepping right into our path (literally!), just yards from where we stood, lazily blocking our way back. There was nothing for it but to stand still, pinned to a rock (uncomfortably close to the cliff edge, I might add), and wait patiently for them to move on. They were utterly uninterested in us, but still—big, unpredictable, wild animals with pointy weapons sticking out of their heads make me nervous.
When the path cleared and we got the heck out of there, we found more hanging out near the car. Sigh.
But hey. At least I had plenty of time to get a good look at them—and nowhere to go but into my bag for my sketchbook and pen.
It’s difficult enough to sketch from the passenger seat of a moving vehicle: keeping a steady hand, drawing quickly enough to keep pace with a changing landscape, etc. But when you throw in trying to sketch by moonlight… Well, I guess you just have to be willing to embrace imperfection—and wait until morning to see how everything came out.
I have a particular love (and lots and lots of sketches) of treeless landscapes and endless plains. But I have to admit—after driving cross-country over more than 2,000 miles of the flat interior of the continent, seeing mountains again, at last, feels like a kind of reward.
* “Seeing the Elephant” was a popular (and complicated) American expression in the late 19th century, often used by pioneers to refer to the reward awaiting them at the end of their long wagon journey west.