writing – Notes of A Native Son

Esperanza

It was 2014, on the eve of my hearing of the passing of the legendary luminary Maya Angelou that I penned these words held buoyant by hers, “Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave.” For the last few weeks I’d walked in the challenge of addressing, through art, the theme of violence in Colombia. Colombia was enslaved by a history of violence that continues to taint its present color in the eyes of the rest of the world. In my time there, from speaking on the panel with the mayor of Medellin downtown at the Mayo por la Vida Celebration, to walking the neighborhood streets of rural Apartado with school age children; I saw the power of the very thing that Maya Angelou talked about-hope. Hope, not the one that sits and reaches out to nothing and just waits. No. Hope, that unsinkable mindset that hovered above me night after night as I pondered the depth of the question asked of me many times during my sojourn there, “Do you really believe in world peace?” Each time, the question hit me like a dark wave threatening to drown the belief in change to which I clung ever so tightly.

One evening I had the honor of visiting a three year old girl who had been shot just days before. As I knelt down beside her, without hesitation or concern she reached out and put her tiny arms around my neck and gave me a hug that could have embraced the world. In her sunshine smile and angelic eyes I saw what I needed to see, my answer, the reason I was doing what I was doing. I saw hope in its purest form shining onto my faith and casting away any shadow of doubt that may have been lurking in my mind. Not the type of hope that sits waiting, internally pleading for something to change, but the kind that continually rises up in the face of all that would suppress us. The Spanish word for hope is esperanza. That little crippled girl awakened in me a renewed sense of hope. Esperanza was echoed in the face of every child and Colombian I saw from that point onward. I always reminded myself that there’s always a way.

I am an artist, and art is my weapon of choice for peace and justice. What I mean by justice is that which I want for myself, I also want for others. I bring, like Maya Angelou said, the gifts the ancestors gave and I use them for the enriching of this planet we are blessed to inhabit. Although I was a speaker of English in a Spanish speaking country, art is a universal language, and her most vivid color is love. I was met with the spirit I came with. I walk with art as agency for change. Change is coming. Not only do I believe it, I know it because I saw the preview of a new world reflected in the eyes of the children who looked into mine. And in their smiles and attitudes I saw the blueprints. That isn’t political or scientific, or any other form of measurable statistic. It’s the power of esperanza. Where there is life, esperanza (hope) lives, and where she lives, change is inevitable. Hold on.

Hills of Dreams: Becoming What We Needed to See

Sometimes the universe whispers before it speaks.

Not long ago, I had the idea that I wanted to do something for the elementary school I attended as a child. I considered doing a mural or workshop. It was an idea that I mentioned only to my wife and scribbled in my journal. The very next week, no joke, I opened an email from the art teacher at Rolling Hills Elementary School. Her enthusiasm came straight up outta that computer. She had seen my work and wanted me to paint a mural. She had the will and the zeal, but no true idea what it would take or cost to bring it to pass. But I already knew it was destined to be. We trusted the process. Huntsville City Schools and local sponsors answered the call and the project was set in motion. We would call the mural, Hills of Dreams.

With mixed feelings I returned to those linoleum floored cinderblock halls where my own journey began. Rolling Hills Elementary School was where I first discovered the joy of art making as a thing, the exhilaration of diving deep into the creative process, seeing my work on the walls for the very first time. Where I walked with reverence into that precious carpeted library that served as a keyhole to the worlds of my interests. Where I watched a popcorn seed planted in a baby food jar sitting in the window, sprout and reach for the sun. Where at the end of my fourth grade year, the teacher gave me my pick of books on the shelf by her desk. I felt like I bit off a little piece of heaven that day. At that little cozy elementary school tucked into northwest Huntsville, nestled on a hilltop, the foundation who I am as a creative was laid. To create there again, among students and teachers, was more than full circle. It was cosmic alignment.

One day, while I worked on the mural in the cafeteria, a group of students came in to watch a film. Out of curiosity, I glanced back at the screen then noticed a boy with his face toward me. He wasn’t watching the movie at all. His eyes were fixed on me as I painted. I could feel him watching. Deep, steady, unblinking. I turned back to my work, brushed paint onto the wall, and later looked again. He was still watching. Still locked in. Of course it didn’t bother me at all. People always ask whether it distracts me when they watch or talk to me when I am painting murals. The answer is no because I see mural painting as a type of performance art. Interaction with the audience is an integral part of the work.

In that moment, I wondered What was that little fella thinking? Was he seeing himself in me? Was I looking back at me at that age? I thought about how vital it is to live fully in my space, to be visibly present on my wings. Because oh, what it would have meant for me to have seen that when I was his age. To see possibility embodied, to see someone creating, to see myself reflected in real time. That’s what doing what I do is about. It isn’t just putting paint on walls or pen to paper. It’s about planting visions. It’s about representing and recreating for inspiration. It’s about adopting the responsibility to be what I once needed to see.

Every child deserves a light to reach toward. Adults can use it as well. So what do you say we commit or recommit to standing tall in our space, to showing up fully, to inspiring boldly for the ones watching us with wide eyes, waiting for their own wings to sprout. Because Hills of Dreams is not just my slinging paint on a lunchroom wall. It’s an embodiment, an incubator for what belongs to every child or person with a dream bigger than their circumstances. It’s for all of us who dare to go for the dream and to forge trails for others to follow. In fact , as I consider it all, I think I’ve been dreaming too small.

Reflection

I was recently painting a mural at an elementary school when the most inspiring thing happened. Not that inspiration isn’t flowing freely in an elementary school anyway. It was one of the last few days of the school year and energy was over the top. And boy do I remember those days. Plus it was a delayed day because of a previous night storm. A small group of teachers gathered in the Lunchroom for movie time for the children. Kindergarten through third grade piled in and planted themselves on the round stools at the tables, their attention supposedly glued to the big screen. Every so often, I’d pause from the strokes of my brush amid giggles and squeals, and glance back at the group and the show they were watching. Each time, I noticed one particular little fella—not watching the movie like the others—but watching me with intensity. Quiet. Still. Eyes locked in on my process.

He didn’t seem restless or antsy but focused. It wasn’t like he was distracted from the movie. I don’t think he had even started watching it. He was drawn—not to noise or the movie screen, but to the motion of my brush, the forming of images, The colors spreading on the wall, the unfolding progress of creation. To me, it was doing the thing I do. But to him it appeared to me magnetic. I couldn’t help but wonder what was going through his little head. Maybe he was in awe, mesmerized by this art thing. Maybe he saw himself. Maybe he recognized something familiar in the rhythm of the interplay of mind, spirit, passion, and whatever else makes us do what we do when we do it well. Maybe he thought I looked funny. But more than anything, what I realized is this: that used to be me, often silent but fiercely observant. Sometimes, the quietest gaze holds the loudest affirmation.

As a boy, I was captivated by the act of making, how things came to be. The why, who, when, where of the what. It drew me like a plant pulled toward the sunlight. I didn’t always have the language for it, but I knew I knew. There was something calling, beckoning. And now, all these years later, I find myself on the other side of that moment, being watched by a child whose heart might be whispering the same call. It reminded me that the work we do—especially the work born from intention, from purpose, from struggle and joy—echoes from the depths of life to the surface. It creates ripples. It becomes a mirror, a map, or a magnet for someone else.

That’s why it is imperative that we keep showing up. Not just for ourselves, but for the ones quietly watching, absorbing, being shaped by the vision of what’s possible. We are giving permission to the next artist. The next teacher. The next leader. The next dreamer. The next builder of worlds. What matters most doesn’t just leave a mark on walls, paper, stage, or film, —it leaves a reflection for and in those to come.

_{Photo by Michelle McClintock}

It Is What It Is

There’s something about standing in the cool shadow of death that reminds us to live. Not just to exist. Not just to breathe. But to live.

Recently, my aunt passed on. I stood beside her as we talked possibly more than we had ever talked before. At least one on one like that. Other times we had always been surrounded by other family members as we exchanged a few words here and there. In that still room, a holy hush wrapped itself around us. I looked down at her—and I saw her. Not as I had always seen her—but as she truly was. Her full lips. Her smooth, unlined skin. Her deep, brown eyes, wide listening. It felt like I was seeing her for the first time. I saw her almost perfect hands were manicured with no polish, barely warm as they wrapped around mine. I heard my Dad’s words come out of my mouth, “I want to pray with you.” When I finished, she continued in a whisper barely audible. Then she smiled.

She was not an old woman. Not by our measure. But here she was resting in that portal, that liminal space between breath and spirit, between what was and what will be. She spoke in whispers, each word labored, each syllable soaked in meaning. Then came the moment that now echoes in my soul. She took a deep breath—one of her last for the week—and as it left her lungs, it came forth with
“It is what it is.” At first, I thought it was just a form of resignation. It felt like so much more though. It was revelation. For me, one who values spiritual connection and ancestral knowing, that phrase carries weight. It isn’t about giving up. It’s about giving in—to divine order, to ancestral timing, to the eternal rhythm of life, death, and rebirth. “It is what it is” is not a shrug. It’s a knowing. It’s a surrender that comes with dignity. It’s the utterance of one who has come face to face with the edge of this world and has decided to speak peace to it.

In our communities, we often mask our pain with strength, with a fake stoicism. But there’s something radical about embracing what is. It is an act of spiritual resistance. A return to the old ways of being in relationship with the mystery. To look death in the eye, and still bless the moment with your breath! That is power. That is ancestral poise.

To her two sons—my cousins, no longer the little boys I remember running around—I want to say this: Your mother loved you with an undying love. She saw you. She knew you were and as you are. It’s is in your hands now to take that to the next level and be the best seeds she ever planted. make good on her investment. She carried you, not just in her womb but in her spirit. She watched over you with quiet strength — and she could let loose with some fire to get you in gear. We know she didn’t play. None of us are angelic all the time. Some of her final words to my ears, “It is what it is,” were not meant to harden or dismiss—but to hold us. She was teaching her final lesson. That life cannot always be understood, but it must always be honored. That even in the transition, there is truth and knowing that goes forever forward. That we don’t have to make sense of everything to be at peace with it. Let those words become your shield. Let them remind you that what goes away has not vanished, only changed form. That smile, that laugh of hers is still with us. Your mother is an ancestor now, an ascendant. She is not silent. She is speaking still, through memory, through love, through you.

To those who have loved and feel the loss—You are not alone. Our people have been burying loved ones for generations, and still we rise. Still we sing. Still we embrace and smile at each other at funerals, calling joy out of sorrow. The dull ache of grief may never leave you. But neither will the love. Love never dies. Stand up straight in the cool shadow of death—and allow it to remind you to live. To laugh. To cry. To say “it is what it is,” not with defeat in your heart, but with reverence on your lips. Those words to me, in that moment from my aunt, were a benediction. A battle cry. A blessing.

More Than a Portrait

It was more than an honor to play a part in the resurrection of Jefferson Davis Jackson’s image and legacy. From the very first mention of this project, I sensed it was more than an artistic endeavor — it was a cosmic assignment, a sacred agreement between the seen and unseen, calling forth the spirit of a great man long buried beneath the weight of history’s silence. For 66 years beginning in the late 1800s, Jefferson Davis Jackson worked on the University of Alabama campus beginning at the tender age of 11 years old. Many of those years he labored alongside Dr. Eugene A. Smith, a professor and geologist invested in finding the natural resources that could be used to develop industry in the state following the ravages of the civil war. Jefferson Davis Jackson, a man devoted to life, wore many hats on campus and abroad. From custodial, to maintenance, to traveling by horse and buggy with Dr. Smith across the entirety of Alabama excavating and documenting the natural resources and history of the state. From home to church, to work, he was all in. He worked in the very building, Smith Hall, where Autherine Lucy, the University of Alabama’s first Black student took classes. Was he there the day a shotgun blast blew a permanent scar to the outside of Smith Hall, or the day an Alabama governor made a diabolical declaration. Somewhere along the way the name and legacy of J. D. Jackson were covered over by time, ignorance, and the order of the day.

One day I received an email from a young woman working in the Museum of Natural science at the University of Alabama. It’s Alabama’s oldest natural science museum. I could feel the excitement through her appeal. She had found a trail leading to the greatness of a Black man Named Jefferson Davis Jackson. She wanted me to do a red clay portrait of him. “I knew I had to contact you.” she said. “I knew you were the only one who could do this justice.” Soon we spoke by phone and, feeling the tug of ancestral beckoning through my busy schedule, I agreed to do the portrait. I needed to walk the areas he walked, see the spaces he inhabited, speak to relatives, and gather earth from his walked pathways. Why did he start working at the university at age 11? How did he lose his eye? We scheduled a trip to Tuscaloosa and the journey began.

The process itself is ritual. I gathered red clay from the very soil of the campus of the University of Alabama. This time under the click of cameras and the gaze of assistants. The sacred ground is alive with memory, connecting my work to the land and its complex, often untold, narratives. The red clay, stained with the life-blood of our ancestors, holds within it both trauma and triumph — the iron-rich soil echoing the iron in human blood, linking us inextricably to those who came before. In its crimson grains, I feel the pulse of generations. Mother Earth knows their names. The clay is a portal, a living map. To this I added water from the nearby Warrior River. Water represents spirit. The river is a witness, a keeper of stories, a carrier of forgotten songs. Its waters hold the essence of what was lost and what still lingers. As clay and water met paper, each touch was more than technique. It was an invocation. The act of placing clay upon the surface became a merging of worlds, a thin place where past, present, and future blurred. I never work alone. Sometimes I feel like the ancestors are leaning in, guiding my hands, speaking through the vibration of the red earth. In this work Jefferson Davis Jackson was not just being rendered, but reawakened, his light called forth through the elements of earth and water, through the breath of spirit and artistic calling.

The portrait is a vessel — a bridge between dust and flesh, blood and starlight, past and future. The red clay tethers this work to this southern landscape and to the heavens. It affirms what we already know deep in our bones: that our stories cannot be erased. They may sleep beneath the soil, but they rise again through us, with us radiant and undeniable. In this artwork, Jackson stands not as a rendering or shadow of the past but as a resurrected star in the firmament of Black excellence, human nobility, a beacon for those yet to come. From his devotion to the university and his community to his baritone voice in the church choir, he was a man among men. This is not simply a painting—it is a ceremony. A cosmic reckoning. A testimony inscribed in earth and water, blood and memory. It is a conjuring, a return, a restoration. With hands deep in sacred soil, I summon legacy back into the light, returning one of our own to his rightful place among the honored. Let this work stand not only as tribute but as threshold. A portal. A vow. To this end—and this radiant beginning—there is more to come…

In Search of Okay

This morning, as I lay in bed far past usual, with the sunlight spilling into the room, my mind circled around a familiar yet complicated idea of being okay. What does it really mean to be okay, to be alright? Not in the way we toss it around in passing conversations, but in the quiet, honest places within ourselves. On the path I’ve chosen — this project-based, often unpredictable existence as an artist, I find myself constantly moving between points — this project, that commission, this opportunity, that possibility. And in every moment, I realize I’m often searching for a position where I can quietly say to myself, I’m okay. Not necessarily victorious. Not defeated. Just okay. Okay with where I am, or where I thought I’d be by now. It’s a constant negotiation between expectation and acceptance.

When we meet people, we ask how they’re doing. “I’m okay.” “I’m alright.” Simple words that cover so much. Sometimes they’re true. Sometimes they’re placeholders. And sometimes, they’re shields we use to keep the deeper, heavier parts at bay. Lately, I’ve started to wonder — what do I mean when I say I want to be okay? Is it peace? Is it progress? Is it simply a quiet wrinkle in time where everything doesn’t feel like it’s pressing in? Am I hoping for a point in my life, or my work, where I can be completely alright with what is? And if so… does that place even exist, or are we forever chasing it, catching only glimpses as it moves just out of our reach?

I’m learning that maybe okay isn’t a permanent destination. Maybe it’s a fleeting pause — a breath — a fragile alignment between what’s happening around me and what’s happening within me. It’s the moment I stop measuring, stop chasing, and simply allow myself to be. Today, I’m in search of an okay that may not be a finish line or a reward, but a quiet, honest moment where I can say to myself, I’m alright… as I am, right here, right now. And maybe for today, that’s enough. So if you find yourself searching too, know that sometimes, okay isn’t a place you arrive at — it’s a moment you allow.

Make-Believe: The Invisible Bridge Between Worlds

Last week, while visiting a job site with a business associate, an unexpected moment unfolded—one that has been echoing inside me ever since. We were talking through project details when an unhoused gentleman approached. Nothing unusual in a city where gentrification collides daily with poverty. But what came next unraveled some of the lines we tend to draw between people. Both men’s face lit up—not with friction, but with recognition. Turns out, they grew up just a few houses apart. Same block. Same neighborhood. Same era. I couldn’t help but ask what many might think but not say aloud: “What made the difference?” One man with homes in multiple cities, running quite lucrative ventures across several sates. The other, navigating life on the streets. He didn’t hesitate. “Attitude,” he said. That was a common answer. One that I actually expected. The kind of thing you hear in seminars or printed on coffee mugs. But it didn’t sit well enough with me for a number of reasons so I pressed further. That’s when he said it…

“It’s make-believe.”

“Make-believe.” I repeated the words. He went on, “Make-believe. I make believe I can do something or be something… and then I just start working toward it and make it real. It’s all made up anyway— laws, the dollar values, titles, cities, streets, and names. So I just make believe and do it.” We both chuckled at the way he made is sound so simple. But then… it hit me, feeling like home. Make-believe is the same tool we wield freely as children before the world tells us what is and isn’t possible. The same gift that built spaceships out of cardboard boxes and kingdoms out of yard dirt. Pillows became forts and sticks transformed into swords. Towels became superhero capes billowing in the wind as we charged through the house, out the door and leaped from the front porch in that brief airborne glory of flight. It is in so many ways the same energy I now use as a creative. I imagine what doesn’t exist yet—and then bring it into the world out of a blank canvas, a sheet or paper, or a wall…or whatever else.

It’s not pretending really, it’s a form of creating. It’s so easy to think of imagination or daydreaming as child’s play, but what if it’s actually the cornerstone of everything real? What is money, after all, but a mutually agreed-upon myth of perceived value? A green piece of paper backed by our belief. What is a city but a series of stories and structures laid out in grids and street signs activated by someone’s rules of the game? What is a career, a title, a boundary—except a fictitious outline agreed upon by the masses? Just food for consideration here.

The difference between one person and another, between despair and drive, between stagnation and growth, might just be one’s willingness to believe in the invisible long enough to build it. Make-believe. That’s what creatives do. That’s what visionaries do. That’s what children do. Then we grow up. Perhaps that’s what we’ve lost in the vainglorious grind of adulting: the sacred skill of making believe. But here’s the beautiful twist—I’ve come to understand that the artist and the entrepreneur, the educator and the dreamer, the activist and the builder—all require the same core recipe: imagination infused with intention, carried by action.

We imagine.
We believe.
We begin.
We become.

So next time someone dismisses “make believe” as a childish thing, we can smile and nod… knowing full well that the world we live in—every towering building, every invention, every institution, political or otherwise—once lived only in someone’s imagination. It’s all made up. So, if we don’t like the world we live in, just like someone made us believe in the this one, let’s craft another more equitable one of our choosing. Our inner world would be a great place to start.

The Magical and The Mundane

Driving out in the backcountry of Madison County, Alabama, near where I live, never disappoints. Just ahead and to my left across a field on a straight country road, the clouds had parted. Sun slivers filtered down through them like a scene from a science fiction movie. For a moment, I imagined being lifted up, joining a congregation of aliens who would send me back with all my superpowers revealed—everything suddenly feeling possible. Another thought that crossed my mind was the age-old reminder: behind every dark cloud, there’s a silver lining. It’s a comforting, almost cliché notion, but one that always gives me hope.

Yet, as I pondered these whimsical ideas, I couldn’t help but hear the voice of an old friend in my head, the one who would often point out, with a smacking of their lips, “They’re just clouds.” And maybe that’s true—maybe that’s all they are. But sometimes, I believe it’s about what we choose to see. Those clouds could be just that, or they could be the start of a story that feels as big and strange as the universe itself. It’s all in how you look at it. In the end, it’s not about whether those clouds are just clouds or something more. It’s about how we choose to see them or peel ourselves from the harsh reality of an overstuffed existence. Life is full of just ordinary moments, the mundane that we all pass by without a second thought. But within those moments, if we allow ourselves, there’s room for wonder, magic, and connection. Some cultures refer to these events as omens, others as divine whispers. It’s like the space between the clouds and the sunlight—there’s something in that gap, a glimpse of possibility, if we’re open to it.

So, maybe we’re all given little opportunities to “see” beyond the scene. Sometimes it’s a patch of light breaking through, other times, it’s simply choosing to imagine what’s not immediately visible. The mundane, when seen with the right eyes, can become something far more extraordinary. And maybe, just maybe, that’s the real magic.

A Future Worth Saving

“…We have to matter. If we don’t, there is no future worth saving.” +Ms Marvel

We are all born with something—an energy, a light, a force uniquely ours. But it doesn’t come fully formed. It’s shaped and forged in the fire of life’s torque. Our superpower is not limited to our natural abilities. They are the sum of us, our defeats, our victories, our past, our pain, and our passion. It is rooted in everything that has tried to break us and/or has built us to now. It’s all hammered into a weapon of choice for this life journey.

As an creative, art has been my magic carpet ride, my hammer, my wings. Not easy by any stretch, but the thing that has carried me as I was carrying it. The thing I have fought with, danced with, and ultimately surrendered to. We wrestle daily with who we are and who we think we should be. But true power is in acceptance—the acceptance of all of who we are— the best and the beast. Think about superhero characters like Batman, Daredevil, or The Hulk. Their power isn’t just in their strength, intelligence, or skill. It’s in their wounds. Batman’s greatest weapon isn’t his wealth or gadgets, but the trauma that turned into his mission. Daredevil’s blindness became his most heightened sense. The Hulk? His curse became his power. They didn’t run from their pain; they harnessed it. And that’s the secret: our power isn’t just in what we’re naturally good at—it’s in what we’ve survived, what we’ve wrestled with, and how we choose to wield it.

I think back to a moment of revelation years ago, standing atop an old building in a small municipality in Antioquia, Colombia, South America, preparing to do a mural with my team of local children. These children had a fraction of what they have in the United States in terms of material possessions, yet standing there, with the connection we had, looking out over the area, we felt invincible, wealthy in spirit and verve—on top of the world. I was right where I was supposed to be and the world was my palette. There was no lack, only creation. No limits, only possibility. That’s the essence of power: not what you have, but what you create from what you have. It is of utmost importance that we spread our wings. We have to matter. If we don’t, there’s no future worth saving. Our existence, our struggle, our triumphs—they matter. We matter. We don’t fight just to fight. We fight because what we do, what we create, and how we live shapes the world present and future. If you’re reading this and thinking this is about someone else and not you. Please be reminded that it is you that make up the us. It is the we that will ultimately win. Every time we rise from pain or paralysis, bite our lip and keep on keeping on we lay claim to a little more of our power. We command our space and carve out a chunk for those who come after us.

We can spend an entire lifetime running from ourselves, trying to be what the world deems acceptable, or we can own our superpower—our full, unfiltered truth—unapologetically. Our stories are not just the parts that shine or look good in snapshots of social media. It is also the shadows, the scars, the doubts, and the falls. The key is in bringing it all together, forging it into something undeniable, unfolding our tomorrows of choice. So, I take this loving liberty to challenge you: Own your superpower. Wield it unapologetically. Stand in it fully. Because once you do, nothing—not circumstance, not rejection, not fear, not even that ragged voice that’s plagued you all of your days—can keep you from rising. Allow no thing on this side of glory to break the rhythm of your stride…let’s go dammit..!

The Earth Never Forgets

Late last year I had the honor of attending an Equal Justice Initiative and Community Remembrance Project posthumous memorial service and marker dedication for one Robert Mosley. In 1890 Robert Mosley was dragged away from life in Meridianville, Alabama, hung by an enraged mob of over 450 men. This southern son’s light was snuffed out in broad daylight. This act of homegrown terrorism was carried out not by the courts, but by self-appointed executioners, fueled by fear-based hatred and the presumption of guilt. Robert Mosley’s age was somewhere between 16 and 19. Basically a child.

I had the challenge and honor of doing a portrait of Mr Mosley in red clay which I gathered from the area of his murder. Working with red clay gives me the feeling of working with a living substance. It is, as a professor once told me, “rich with the blood of y(our) ancestors.” The red clay that forms this image is not merely pigment. It is a reminder of the blood shed on this southern landscape for what we now call home. This painting calls us to bear witness—not just to the life of Robert Moseley, but to the countless others whose names have been forgotten in the ashes of social violence.

During the ceremony, the photographer approached me about the portrait and his camera’s interaction with the eyes. He explained to me the sensitivity of his AI powered camera – how it could detect human eyes. He went on to say that it was reading the eyes of the portrait as human. I heard him but didn’t think anything of it. Several times more in passing he would comment on it, in obvious awe. Finally at the end of the ceremony when he was taking a photo of another gentleman and myself next to the piece, he came over shaking his head and said, “You’ve got to see this!” he proceeded to tell us that the camera had actually recognized the portrait’s eyes before it had ours. In the camera, I saw the green dots focused in on the eyes of the portrait of Robert Mosley. If I’d had another mindset, it could have come across as eerie. Obviously, to him it was rather fantastical and somewhat unbelievable.

At home that evening, I found myself looking through the photos of the program online. The words on the posterior of the marker read.

With his last words, Robert reportedly objected to the mob’s covering his face with a handkerchief, pleaded, “Let me see one more time in this world.”

As I read those words, a chill ran through me. Let me see one more time in this world. And here was this portrait—his likeness, his spirit—being recognized by an artificial eye meant only for the living. The thought settled deep in my chest. Had I, in some way, created a portal for his sight? Had the clay, the very earth itself, become a vessel for something beyond my understanding?

Sitting in the dim glow of my screen, I stared at the image—still seeing in my mind’s eye the green dots locked onto his eyes. It’s as if the camera, too, was acknowledging his presence. Maybe it was just technology behaving strangely. Or maybe, just maybe, Robert Mosley finally got the chance to see in this world one more time. After all, it is A.R.T. …A Resurrecting Truth.