Nourishing Our Community: Public Art in Stone on Lithia Way

Hard stone, tender words.
In memory of three Ashland community leaders.
Great location: Lithia Way and Pioneer Street.
Artist: Lonnie Feather.
Ashland Public Art Series.

“The basalt columns represent the strength of family and commitment to community. The embedded glass roundels include words of support…. This is about people; the people who make a difference in our lives.”

     From the Public Arts Commission web page

Rock from Northwest quarries, worked by Oregon artist Lonnie Feather, in memory of three Ashland community leaders of the 20th century. That is the artwork called “Nourishing Our Community.” It sits at one of the busiest intersections in Ashland, at the corner of Lithia Way and Pioneer Street. 

This photo shows the location of Nourishing Our Community artwork by Lonnie Feather. It is at the corner of Lithia Way and Pioneer Street. (photo by Peter Finkle, 2021)

Why Lonnie jumped at the chance to do this commission

Lonnie Feather told me why she wanted to make this artwork for Ashland. “Community has always been important to me,” she explained. “It’s the heart of where we live.” Community, to her, is what makes a place, a town or city, thrive and grow. It encompasses family, neighbors, neighborhood, city and even beyond.

Nourishing Our Community, public art in Ashland, Oregon
“HOPE” detail of Nourishing Our Community artwork by Lonnie Feather. (photo by Peter Finkle, 2021)

She tried to capture the essence of community in the words and images that accompany the large stones of “Nourishing Our Community.” 

HOPE
SUPPORT
CHERISH
NURTURE
ENCOURAGE
COMMUNITY

She loves public art because it’s out in the open, where it can be enjoyed by so many people and contribute to building a sense of community.

Everett Henry McGee made this artwork possible

In 2003, the McGee family contacted the Public Arts Commission (PAC) with good news. At his passing, Everett Henry McGee made a bequest in his will to fund a public art sculpture in Ashland. His wish was to honor members of the McGee and Neill families who had been especially active in Ashland community fraternal groups, business and politics through the 20th century. I want to introduce you to the three men he listed in his bequest.

Let’s begin with Everett’s father. James McGee, born in 1877, was one of many Midwesterners to move to Ashland. In 1905 he and Ashland native Olive Wing were married in Portland. I guess she enticed the couple to settle in Ashland. James had trained as an osteopath, but may have practiced for only a few years. He became active as a merchant in Ashland, primarily in dry goods. He was part of the Beebe, Kinney and Drake store (where Brickroom Restaurant is now) and later founded McGee Dry Goods and Ready to Wear on the ground floor of the Elks Building. He was also one of the first to build at Lake of the Woods. 

Talk about active, James was active in the Chamber of Commerce, Lithians, Masons, Shriners, Elk’s Club and Kiwanis Club, plus he was an early Oregon Shakespeare Festival supporter! He also served on the Ashland School Board and Ashland City Council. James and Olive had three children, all boys.

Everett McGee was born to James and Olive in Ashland, July 27, 1909. He followed in his father’s footsteps, both in the grocery business and in Ashland community involvement. Everett’s first grocery experience was one summer operating the store at Lake of the Woods. Moving his business to Ashland, he purchased the East Side Grocery at the corner of Morse Avenue and Siskiyou Boulevard. In 1942, he built the larger Market Basket grocery across the street at Siskiyou Boulevard and Beach Street. In 1942, Everett also began a decade as minister of the Church of Christ in Phoenix, Oregon.

Richard (Dick) Neill is the other family member memorialized by this sculpture with a theme of community. Life brought them together when Everett married Dick’s sister Donzella in 1931.  Dick was co-owner with Everett of Market Basket and of Pioneer Village by the Old Ashland Armory, as well as sole owner of Plaza Grocery from 1957 to 1961. 

Dick was a community leader in Ashland for many years. He was instrumental in getting the Ashland Community Hospital built. After four years on the City Council, he was elected Mayor in 1953 and served until 1968 – that is 16 years as Mayor! He found time to be a member of the Ashland Elks Lodge, Masons and Shriners, in addition to serving as a state-level director of both the League of Oregon Cities and the Independent Grocer’s Association of Oregon. 

Highlights of the Public Arts Commission request for proposals

Here are two sentences I like a lot from the Ashland Public Art Commission’s request for proposals. “The McGee & Neill families have nourished and helped to sustain this community both literally – through their business – and figuratively through their lifelong service to the community. Therefore it is appropriate that we continue this tradition by nourishing the community with a beautiful piece of art that enhances a very visible area at the corner of two important streets in the downtown area.”

As I read about the grocery careers of father and son McGee and Dick Neill, my imagination took off and I envisioned the sculpture in a community garden. Then I read the Public Arts Commission minutes from October 2004 and learned that “Nourishing Our Community” was almost placed in front of the Ashland Food Coop store. That would have been appropriate for a memorial to community and grocery store owners! In the end, it was decided to place the sculpture on public property at its current location, which makes sense for an artwork owned by the City of Ashland.

Lonnie Feather’s proposal to PAC

Nourishing Our Community, public art in Ashland, Oregon
This illustration is part of the proposal Lonnie Feather submitted to the Public Arts Commission in 2005. Her design was chosen. (photo courtesy of Lonnie Feather)

Based on this illustration that Lonnie submitted to PAC in 2005, she was awarded the commission to create the Nourishing Our Community public artwork. 

The challenge of working with stone

“To think about and create a public art piece involves so many parts of the brain.”   

Lonnie Feather

“It was an exciting commission for me,” Lonnie told me. “I had never worked in stone. I just loved the idea of the permanence of the stone pillars, carving into them and adding the glass elements. I wanted to make it interesting to walk around the artwork, for people to consider the meaning of words like ‘support’ and ‘community.'”

artist Lonnie Feather
Lonnie Feather created the lettering for Nourishing Our Community. (photo courtesy of Lonnie Feather)

“All of it was a fun challenge for me. I got to put the hard hat on to work with the stone. I had to call the truck to bring the large stones over to my studio. Then in Ashland to be involved in digging the hole and the installation. That whole process was so fun for me: thinking out the logistics, how to do it, what’s safe, what fits the Ashland community, what’s the aesthetic I’m going after. To think about and create a public art piece involves so many parts of the brain.”

Nourishing Our Community, public art in Ashland, Oregon
Lonnie Feather sandblasted the letters into stone. (photo courtesy of Lonnie Feather)

She came to Ashland a couple times to meet with the Public Arts Commission. She also had meetings with the public in Ashland, both to present her idea and to hear from Ashlanders.

Installation and dedication of the artwork

Nourishing Our Community, public art in Ashland, Oregon
Stones for Nourishing Our Community were unloaded at the site in May 2006. (photo courtesy of Lonnie Feather)

Lonnie hired a company to help install her stone sculpture. They sucked the dirt out of the hole where it is located. About one-third of the height of the stones is underground, so we see only the top two-thirds. The hole was filled with layers of gravel, concrete and dirt to stabilize the sculpture. 

Nourishing Our Community, public art in Ashland, Oregon
Installation of Nourishing Our Community, with Lonnie Feather in the background. (photo courtesy of Lonnie Feather)

The artwork dedication took place on June 12, 2006.

Nourishing Our Community, public art in Ashland, Oregon
Nourishing Our Community was dedicated June 12, 2006. Here is a copy of the dedication flyer. (photo courtesy of Lonnie Feather)

The meaning of Nourishing Our Community

“I wanted to represent the circle that builds thriving, compassionate community.”

Lonnie Feather

To Lonnie, both the feeling and the practice of community are essential for a town to not only survive, but also to thrive. The practice of community can be very practical, she said. “It’s about how people solve problems, how they decide about what to build or not build, how they want their community to look. I think it’s important in this day and age that we get back to the idea of what is our community.” 

In a deeper way, it’s about the connections we have with each other on multiple levels. “How do we support each other? How do we honor each other? How do we cherish what we have?” In her inner vision and in her art, she sees community reflected in circles. One small circle is the family unit. Most people care deeply about their family. Branching out, the circle gets bigger. Do people also care deeply about their neighborhood and city, and participate in helping them be good places to live? “Then it blows up to, how are we taking care of our planet?” Definitely the big picture! 

Nourishing Our Community, public art in Ashland, Oregon
Glass hands detail of Nourishing Our Community artwork by Lonnie Feather. (photo by Peter Finkle, 2021)

You will notice that the glass insets are circles. Lonnie said, “Using hands, I tried to represent the human to human connection in those circles of glass.”

How an artist was created

“In my family, it was never called ‘art.’ It was just part of our lives.”

Lonnie Feather

Before art can be created, the artist has to be created. When I asked Lonnie how she became an artist, she immediately gave credit to her family. She grew up with a father, grandmother and grandfather who all created objects of utility and beauty as part of their daily lives. Then she surprised me when she added, “In my family, it was never called ‘art.’ It was just part of our lives.” Her father enjoyed drawing and sculpture. His many woodworking projects were both practical and beautiful. For example, when the family needed a sofa, he designed and built one from the ground up – from initial sketches to final upholstery. 

Her grandmother taught Lonnie about making candles and creating delicious food. When Lonnie was in high school, her grandfather took a class in stained glass. She told me, “I looked at him doing that and thought, ‘That would be fun.’ So he set up a table in his basement, and we got to make little stained glass ornaments together.” 

In her 20s, she decided to make art more of her life. She opened up a little stained glass business: taught classes, sold supplies, did private commissions. 

It wasn’t until she studied glass art for two summers at Pilchuck Glass School that she began to think of herself as a “professional artist.” This was a turning point in her life, when she decided glass would be her specialty going forward. In the decades since then, she got an art degree at Portland State University and she has continued “growing and making and thinking and exploring” in order to stay creative. She grows through traveling. She finds inspiration in nature, which she brings back into the studio and incorporates into her current artwork.

Lonnie lives and works in Portland, Oregon, where she was also born and raised. Her website ( https://www.lonniefeather.com/#/ ) describes her “variety of mediums and techniques which include painting on glass, glass sandcarving, cast glass, murals, mixed media with glass, wood carving and stone sculpture.”

Other artworks by Lonnie Feather

Here are several selections from her lifetime of artwork. 

Artwork by Lonnie Feather
“It Begins Within the Circle” consists of two large artworks at the RCC/SOU Higher Education Center in Medford. The artist is Lonnie Feather. (photo from Oregon Percent for Art website)

I am very impressed by the two large pieces (photos above and below) that were installed on the first floor and third floor of the RCC/SOU Higher Education Center in Medford in 2008. Lonnie told me: “The title, ‘It Begins Within the Circle’, reflects the idea again about the circle of community and life in the beautiful southern Oregon valley. I combined two techniques in glass – the colored areas are sandblasted and painted on plate glass and the clear is a relief with cast glass with a design reminiscent of swirling water as the beginning of that circle.”

Artwork by Lonnie Feather
“It Begins Within the Circle” consists of two large artworks at the RCC/SOU Higher Education Center in Medford. The artist is Lonnie Feather. (photo from Oregon Percent for Art website)

The example below shows some of her current work. She combines her love of water color painting with cast stone. Part of her series Dreams of Water, this piece is called Roots of Life. 

Artwork by Lonnie Feather
This piece, titled “Roots of Life,” is an example of current art by Lonnie Feather. (photo courtesy of Lonnie Feather)

Closing words

The corner of Lithia Way and Pioneer Street has pluses and minuses as a place for public art. On the plus side, its location between the large Lithia Way parking lot and Oregon Shakespeare Festival (as well as East Main Street) means that thousands of people see the sculpture every day. On the minus side, this spot is far from meditative! It is not a spot that draws you to linger for a while and appreciate the artwork. Too much concrete and asphalt.

Nevertheless, I encourage you to slow down the next time you walk by this corner. Walk slowly around the powerful stones that are likely to be here for many human lifetimes. As you read the word “HOPE,” try to feel the hope that Lonnie Feather put into this art. Reflect on the words carved into stone to encourage thriving, compassionate community.

Nourishing Our Community, public art in Ashland, Oregon
“Cherish” detail of Nourishing Our Community artwork by Lonnie Feather. (photo by Peter Finkle, 2021)

References:

Anon. Obituary for Everett Henry McGee, Oregon Obituary and Death Notice Archive, at GenLookups.com.  (accessed April 19, 2021)

Anon. “Request for Proposal: McGee-Neill Memorial Sculpture, Nourishing Our Community, March 23, 2005,” City of Ashland.

Anon. Minutes of the Public Arts Commission, City of Ashland website, October 15, 2004 and other dates.

Anon. State of Oregon Art Collection, Percent for Art program. (accessed May 12, 2021)

Feather, Lonnie. Interview and other communications, April 15, 2021 and other dates. Thanks to Lonnie for sharing her photos with me.

Feather, Lonnie. Link to her website

Ashland Streetscape and Hills: Senior Project Public Art

How Ashland High senior project became public art!
Downtown on Enders Alley.
Artist: Nicole (Nick) Shulters.
Ashland Public Art series.

“A lot of people have their high school senior project, and it’s like, one and done. You don’t really think about it again. But this is something that will be on the wall for a very long time. It’s pretty cool to have left my mark, so to speak, on the place that raised me.” 

Nicole (Nick) Shulters

What inspired this artwork?

As Nicole (called Nick) and her father Dan walked to the Bloomsbury Coffee Shop from his Dan’s Shoe Repair shop on Second Street back in 2011, they took the shortcut along Enders Alley. She was a senior at Ashland High School, struggling to come up with an idea for her senior project, a 100-hour-plus educational commitment. Her father looked at the “grungy looking wall” on the alley side of his shop and said, “Why don’t you do a painting on here for your senior project?” 

Ashland Streetscape and Hills, public art
Nick was painting blocks of color on June 20, 2012. (photo by Dan Shulters)

Why Nick said “Yes” to her father’s idea

Nick told me that she was motivated and inspired by Ashland High School art teacher Mark Schoenleber. As she put it, “I was really into art at the time, partly because Mr. Schoenleber created a really positive, uplifting environment that made you want to be around, even if you weren’t necessarily ‘artistic.'” So much so that she took nearly a dozen art classes from him during her high school years. She laughed as she explained that art was one of the few classes that students were allowed to repeat at Ashland High and she took advantage of that.

She loved creating art and decided it would make an interesting and enjoyable senior project. Little did she know what she was getting into.

A “nick of time” story about the shop

Dan’s Shoe Repair opened here in 2003, when Dan Shulters moved from Corvallis to Ashland. The shoe repair shop is now run by Jerry Carpenter under the name Ye Olde Cobbler Shoppe. Jerry co-owned a cobbler shop for many years in the Midwest, but had to leave the partnership. Not long after, on a below-freezing spring day, he complained to his sister about the 10-degree temperature and said he wanted to live somewhere warmer. Five minutes later, his sister called him back to say she looked online and found Dan’s Shoe Repair listed to be given for free in a small town in Oregon. Jerry told me he looked up the temperature in Ashland that day and it was 70 degrees! That convinced him to check it out. He flew out to Ashland, clicked with Alise and Dan, and bought the lease and equipment for $50.00 a couple days later (just three days before everything would have been taken to the dump!). It was a WIN-WIN, plus it kept Alise and Dan from losing their reputations and breaking their lease.  Jerry enjoys his new shoe repair business in Ashland. Selling the shop allowed Dan and Alise, who moved to Malawi in May 2018, to return on time. Dan’s story is described in brief at the end of this article.

The original brick building now has a less than perfect stucco exterior. When it was painted a few years ago, Dan decided to leave some of the exposed brick visible. To me, that choice adds to the charm of the exterior.  

Exposed brick at the former Dan’s Shoe Repair shop, now Ye Olde Cobbler Shoppe. (photo by Peter Finkle, 2020)

Nick’s learning experience with the Public Arts Commission (PAC)

“A lot of people don’t realize the process you have to go through to get something like this approved.” 

Nicole (Nick) Shulters

As a high school senior ending her 12 years of compulsory schooling, Nick thought she had chosen a relatively easy senior project. She loved art. She knew how to paint. She had a good spot to paint a mural, not too small and not too large, about 230 square feet.

“What ended up being painted on the wall was very different than the original design that I presented to the Arts Commission,” Nick told me. She had been doodling and sketching San Francisco style skylines, probably because she dreamed of going to college there after growing up in the small town of Ashland. She also incorporated bright colors and abstract elements within the initial design ideas, similar to her illustration shown below.

Ashland Streetscape and Hills, public art
This illustration is similar to the early ones Nick created for Ashland Streetscape and Hills. (photo by Dan Shulters)

PAC meeting September 2011

Everything changed when she attended the Public Arts Commission (PAC) meeting on September 16, 2011. She began to learn how different public art is than art created for oneself or for a private client. After she presented her idea to the commission, PAC asked her to prepare all of the following information and come back to their October 2011 meeting. From the minutes:

  1. “Square footage and demarcation of the wall.
  2. Wall texture and condition and how you intend to prepare the wall for paint (wall prep, priming etc.).
  3. How you will physically execute the painting e.g. scaffolding, lift requirements, placement of orange cones, caution signage for vehicles and pedestrians etc. How much space will you need from the wall into the alley? The City will need to know this information to determine if the alley should be closed to vehicles, for safety reasons, during the time you are working.
  4. Paint specifications.
  5. Anti graffiti and UV coating.
  6. Explanation of your vision.
  7. Color sketch of your proposed vision.
  8. Timeframe (how long will this take from start to finish?).”
Ashland Streetscape and Hills, public art
This is how the wall looked in September 2011, before the wall was painted and when the multi-colored striped fabric was still up. (photo by Dan Shulters)

PAC meeting October 2011

It was no longer the “relatively easy senior project” she had envisioned. However, she was committed to doing it right, so she made her next presentation at PAC’s meeting of October 21, 2011. The commissioners liked everything she presented except the design. From the PAC minutes of that meeting: “Generally the commission feels the design of an urban landscape is not appropriate for Ashland….” They asked her mural to reflect an “Ashland, small town” look.  

One commissioner suggested she ask for guidance from a nationally known muralist named Robert Beckmann, who lived in Ashland at the time. It was Beckmann who painted the portrait of Shakespeare on the Bard’s Inn wall. In conclusion, the minutes state: “PAC has delayed approval of the mural until Nicole returns to the November meeting with a revised design.”

PAC meeting November 2011

Nick did have a short meeting with Robert Beckmann. She remembers him as being very kind. For the November 21, 2011 PAC meeting, Nick presented a new design that incorporated Beckmann’s suggestion to add the hills of Ashland behind the buildings. The PAC liked the design changes and approved them.

But her challenges were not over yet.

PAC and City Council meetings January/February 2012

There was still the matter of public comments to consider, which happened at the PAC meeting of January 20, 2012. Letters had been mailed to 53 properties within 300 feet of the mural site. Comments were received both for and against the mural. Here is a comment I found a bit humorous, from the PAC minutes: “The other negative comment was from a neighbor in a private home who did not want to look out her window and see the mural.  Per photos provided by Mr. Shulters [Nick’s father], it does not appear the mural is visible from her home.”

Ashland Streetscape and Hills, public art
Nick is shown speaking to the Public Arts Commission on January 20, 2012. (photo by Dan Shulters)

Finally, Nick’s mural was approved by the PAC on January 20, then by the City Council on February 21 – the culmination of a months-long senior project learning process that was past 100 hours of work before painting even began.

Lessons Learned

During our interview, I acknowledged the challenge of the public art process and expressed the hope that “you will be able to apply all those lessons you learned.” She replied, “So far, the experience has done me well. I had that naiveté that it’s going to be ‘one and two and done,’ which is not the case. That’s a lesson that was happily learned earlier on in my life rather than later.”  

Finally, the painting

Painting happened in June 2012, the week after she graduated from high school. 

The first day required thoroughly cleaning the wall, then applying a coat of off-white primer to the wall. The second day, she outlined the buildings and mountains with black spray paint. 

Ashland Streetscape and Hills, public art
The mural on June 19, 2012 as Nick was spray-painting outlines of the buildings and hills. (photo by Dan Shulters)

As with other murals, the next step was painting blocks of color for the buildings, hills and sky. 

Ashland Streetscape and Hills, public art
The mural on June 20, 2012 with the color blocks painted. (photo by Dan Shulters)

During the fourth day, she added detail, shading and touchup to each section. The final step was a clear sealant over the entire mural. 

Ashland Streetscape and Hills, public art
Artist Nicole (Nick) Shulters stands in front of her completed mural – Ashland Streetscape and Hills – on June 26, 2012. (photo by Dan Shulters)

For the wall, she used exterior grade house paint. She laughed as she told me that her initial small mockups had been done with shoe polish spray paint from her father’s shop!

“It was definitely a fun experience, something I’m glad I did.” 

Nicole (Nick) Shulters

The artist shared two “secrets” with me

A favorite highlight, when I am able to interview a living artist, is learning something brand new about the artwork. Something in plain sight that I just didn’t see. Here are two “secrets” I learned from Nick.

I got my first surprise when she said, “If you’re facing down Second Street [north] looking at the hills from the mural location, it’s supposed to match up with the hills on the painting.” Here are two photos, with a sliding bar between them, so you can decide for yourself if she succeeded.

Ashland Streetscape and Hills, public artAshland Streetscape and Hills, public art
Slide the line so you can see how the hills across the valley from Ashland, as seen from the mural site on Second Street, look very similar in the two photos. (photos by Peter Finkle, 2021)

The second “secret” involved the three dimensional nature of the artwork. Her father suggested that she incorporate the fan unit that sticks out from the concrete wall into her mural design. The strong fan vents fumes out of the shop. The cobbler shop requires good ventilation for the repair work done there, so the fan unit was essential to keep intact.  She made the fan unit into one of the buildings.

Ashland Streetscape and Hills, public art
Detail of Ashland Streetscape and Hills, showing the fan unit that gives the mural a three dimensional touch. (photo by Peter Finkle, 2021)

Nick’s childhood art influences

Nick said, “I think the main thing that inspired me was that my mom used to do a lot of water colors. There is one painting my mom still has of dolphins swimming in the ocean. I remember always looking at it and wanting to be able to articulate on paper something that people can easily understand.”  

Dolphin water color
Dolphin water color by Nick’s mother Susan Rugh, March 2000. (photo courtesy of Susan Rugh)

Her parents told her that she traced cereal boxes as a young kid. She graduated to sketch books, where she drew scenery and what was around her to pass the time. She didn’t grow up spending hours on her phone with Instagram and TikTok. She feels fortunate that her parents encouraged her to find creative ways to stay busy, including drawing, painting and learning mechanic skills.

Why Nick’s father left Ashland for Malawi, Africa

I am a sucker for stories of people “finding their purpose.” Dan first visited Malawi in 2015. From the beginning, it felt like home to him. He said in a 2018 Locals Guide interview, “Suddenly all of my skills that I have been learning all of my life had a purpose.”

Here is a brief description of Dan and Alise (his second wife) Shulters’ humanitarian work in Malawi, one of the poorest countries in Africa – and the world. Building on his knowledge of shoe repair, Dan is helping people in the villages near his home there to set up micro-enterprises. During 2020, around 40 Malawian entrepreneurs began to operate their own tiny shoe retail businesses. In a recent Locals Guide interview, Dan and Alise said that “the shoe sales saved several families in their homes with food to eat when their jobs disappeared [due to COVID restrictions].” You can learn more about their work in Malawi at the non-profit group’s website

References:

Schoenleber, Mark. Interview, March 2021.

Shulters, Dan (interviewed by Shields Bialasik), “Dan Shulters is moving to Malawi. Where is that?,” Locals Guide, August 28, 2018.

Shulters, Dan and Alise (interviewed by Shields Bialasik), “Steps4Malawi, end of year update,” Locals Guide, January 1, 2021.

Shulters, Nicole (Nick). Interview and other communications, April 27, 2021 and other dates.

A WalkAshland VIDEO! (Painted Utility Boxes video tour)

Peter leads a Railroad District art + history walk.
Video by Sailor Boy Media.
Here’s how it happened. Ashland Public Art video.

If you want to go straight to the video, click the image below. If you want to read my story about how the video came to be, keep reading.

In the video, you will meet artist Ann DiSalvo

Ann painted two of the utility boxes we will see on our video tour, including this one showing the swans that used to live in the Lower Duck Pond at Lithia Park.

Painted utility box, Ashland
Utility box on A Street near Fourth Street as it was being painted by Ann DiSalvo in 2009. (photo from Public Arts Commission presentation prepared by RavenWorkStudio, 2009)

In the video, you will learn Ashland history highlights

Here is one of the spots we visited during the video walking tour.

My photo essay led to this video

On February 3, 2021, I published an article about painted utility boxes in the Railroad District. I learned that in 2009 Ashland’s Public Arts Commission had initiated this project to brighten the town by commissioning artists to paint some of the drab, dark green utility boxes. It was a good story. I did research and found “before and after” photos of all seven utility boxes that were painted in July 2009. I walked the streets and took my own photos, then published the story as a photo essay. CLICK HERE to see that photo essay.

Keegan Van Hook said, “Are you interested…?”
I said, “Yes!”

Videographer Keegan Van Hook read my article and was intrigued by the possibility of turning my photo-essay walk into a video walk. After asking him a few questions and seeing some of his work, I replied with an enthusiastic “Yes.”

A graduate of the Southern Oregon University Digital Media program, Keegan founded Sailor Boy Media with his friend Tripp White. They have an active website and YouTube channel that specializes in video interviews with local people on issues of the day. CLICK HERE to visit their website.

Filming the video

I met Keegan and Tripp at 11:00 am on February 24 to film the video. Keegan asked me questions and Tripp did camera work. I had notes with me, but I spoke extemporaneously at each utility box and at our historical sites. We walked and talked for two hours, including having the bonus interview with artist Ann DiSalvo.

After the filming, I sent Keegan several historic photographs that enrich the video’s Ashland history sections. Tripp and Keegan edited the two hours into an enjoyable, educational and interesting 24 minute video. Here, again, is a link to the video on YouTube. Thanks for watching, and I hope you enjoy it.

References:

Sailor Boy Media website