44 … A multi-faceted crew for a sparkling season, Christmas 1993 …
Calle Aurora connects the two busiest areas in Alamos: Alameda and Plaza de las Armas. It is an one-way street for cars and two-way passage for pedestrians, bicycles, and animals. It is my favorite street in Alamos, long and narrow with a gentle climb to the Plaza. Most of the night it can be still, homes sleeping as peaceful ghosts come out to loiter and reminisce. This is our crew doubling for ghosts and providing scale and detail to a night portrait frozen in time.
From left to right: Chaco Valdez, painting of Christina Vega by Jim Wison, Anders Tomlinson,
Gary Ruble, Donna Beckett, R. L. Harrington, Robert Ganey, and the Nuzums: Jolene, Kit,
Elizabeth and Pember. At this moment we were all together and thankful.
Gary Ruble took slides, shot 16 mm film, primarily single-frame time lapse, and helped with audio recording. He also disappeared into the arms of Alamos. Often the question would be asked, ” where is Gary?” and the answers were ” we last saw him headed off with some folks”. This is a good example of a ruin’s interior. Since our 1993 shoot the population of Alamos has nearly doubled. Looking at Alamos from space with Google maps I can see new construction and new neighborhoods. Alamos has been part of the southwest’s now dormant building boom. Another factor for Alamos’s growth is the same as its beginnings – silver. A large silver mine to the north reopened in 1999. I wonder how many ruins are still available for purchase and renovation?
The crew was staying in two places a ten minute walk apart separated by Cerro Guadaloupe. In Alamos, the greatest joys maybe the unanticipated twinklings en-route to a preconceived destination. For R.L. Harringto, Robert Ganey, Donna Beckett and Anders Tomlinson this was one of those moments as they came out of cool winter shade at Puerta Roja and walked into warm sun as they approached Alamos Centro.
Within in every artist there is a child that will not be silenced. At times, the child will take control and a sense of humanity is produced. This is one of those moments: human shadows dancing across a wall of time. There was the wall, the sun was setting, why not dance holding hands? This recreated a moment from a 1983 Alamos film shot by Anders Tomlinson and Kit Nuzum of kids dancing by the camera, holding hands, with their shadows racing across the ground.
Christopher, his friends know him as Kit, Nuzum first introduced me to Alamos. We met on a beach while filming and helping with a preproduction setup of a Suzanne Lacy public art performance, Whispers, The Waves, The Wind, featuring white covered tables with white chairs and women, all over the age of 65, dressed in white discussing their lives. The women’s reflections would be broadcasted over speakers up on the bluffs surrounding the cove. An interesting moment in time of age contemplating time.
A couple of months later, spring of 1985, he invited me to go on a Mexico road trip. All he said about Alamos was that he knew I would like it. We arrived in Alamos hours before sunrise. Driving up Calle Aurora into, and around the Plaza, to Calle Comercio #2 and entering the front courtyard of the Casa Nuzum was a step into a place I had never been before. Kit walked me through three garden areas, fountains gurgling under the stars, to a guest room waiting for me in the back. I went to sleep in a dream, I awake to Alamos.
Today, 2013, Kit Nuzum is off the grid and brewing beer outside Puerto Varas, Chile.
Here are 1993 Winter Alamos videos filmed by this crew.
To see more Alamos, Sonora, Mexico videos by Anders and his associates.
To see more Alamos Journal pages.
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