2026: Driving Through Emptiness
I heard that Death Valley was experiencing a rare super bloom.
A brief moment when the desert floor is covered with yellow, purple, and pink flowers, as if a carpet had been laid over ground that is usually dry, bare, and unforgiving. It happens only when the rain comes at the right time, leaving just enough moisture before the heat returns and takes it all back.
For a couple of days, I had been moving along the edge of the Sierra on U.S. Highway 395, scanning for patches of color breaking through the dust.
I did not find the sweeping bloom I had imagined.
But something else was there.
The ground was covered with green. Low bushes, fresh, almost tender.
Different from what I remembered.
This road is usually painted in beige, brown, yellow, sometimes pink.
Now it held a quiet green.
👉 More on that part of the drive in this page: Eastern Sierra Nevada
I kept asking myself, am I already too late?
I left Bishop with that question still in me and drove south to Big Pine. The mountains stood steady on my right, the valley stretched open on the left. There was still a sense of direction, of being held by something known.
Then I turned east.
Onto California State Route 168, toward the northern edge of Death Valley National Park.
Edward Abbey writes, “The desert is the clearest way into the universe.”
I was still looking for bloom when I read that line in my mind. But the desert was already answering in a different way. Not by giving me what I was searching for, but by softening the need to search at all.
The Long Empty Road
On California State Route 168, the land begins to let go of you.
The road climbs steadily out of the Owens Valley, rising along the western edge of the White Mountains. It is not a dramatic alpine pass, but a quiet ascent, winding, gaining elevation until it reaches roughly 5,000 to 6,000 feet.
Up there, the air feels a little thinner, the views open wider, and the Sierra begins to fall behind you.
Then, almost without notice, the road releases you.
It drops back down into a broad, flat basin as you cross into Nevada, becoming Nevada State Route 266.
And from there, everything stretches.
Fewer signs. Fewer interruptions.
The road runs forward without suggestion.
Out there, distance is not measured in miles but in attention.
You either stay with it, or you drift.
👉 Somewhere along that stretch I put on a podcast about Fela Kuti.
His life unfolded in pieces. A musician who refused to separate art from truth. He created a sound that carried resistance. Afrobeat, they called it, but it was more than music. It was a stance. He challenged power directly, lived outside its permission, and paid for it again and again.
Listening to him on that empty road, I felt a kind of alignment.
Nothing softened. Nothing arranged for comfort.
Just a life lived without turning away.
To Hell and Back
Somewhere along that same stretch, the podcast turned to a story.
The narrator spoke with one of Fela Kuti’s musicians, a keyboard player.
As a boy, he had witnessed the brutal murder of his father.
Not something he heard about. Something he saw.
The kind of moment that does not leave you.
Years later, he was playing night after night with Fela.
Fela’s music was built on repetition. Long, continuous grooves that do not rush to arrive anywhere.
Studio recordings would run 12, sometimes 20 minutes.
Live performances could stretch to 30 or 40 minutes, holding the same rhythmic pattern, the same musical phrase, returning again and again.
Layer upon layer. Percussion settling into a steady pulse.
Basslines alive, almost speaking.
Horns entering and leaving in short phrases, never overwhelming, just adding color.
Nothing abrupt. Everything evolving slowly.
Repetition was not a limitation.
It was the point.
It created a kind of trance.
👉 If you want to feel it, here is a link to one of my favorites Fela’s tunes: Coffin for Head of State
The narrator asked him,
what does it feel like to play the same thing over and over?
The musician paused, then answered simply.
When he plays, repeating the same note again and again, he finds himself saying, quietly, inside,
it’s okay… it’s okay.
Not as a thought.
Something that settles with the rhythm.
A way to stay.
A way to endure.
Maybe even a way to heal.
I kept thinking about that as I drove.
The road repeating itself.
The same line stretching forward.
My mind returning to the same question, then slowly letting it go.
Out there, nothing was really changing.
And yet something was.
Passing Through
U.S. Route 95 brings you, briefly, back into contact.
A wider road. A few cars.
Beatty appears without ceremony, a small gathering of structures holding their place against the desert.
I stopped at a gas station and enjoyed a hot dog.
It felt like touching the edge of something human, then continuing on.
Entering the Valley
Crossing into Death Valley National Park from the Nevada side, there is no clear threshold, no entry station, no marker of arrival.
Just a widening.
The land opens and does not close again.
Driving toward Furnace Creek, something in me quieted. Not silence as absence, but silence as presence. The kind that does not ask anything from you.
Out there, it was not something to understand.
It was something to be in.
At the visitor center, I asked a park ranger about the bloom.
He stood there, tall, thin, black-rimmed glasses, and answered without hesitation.
“It already burned off. The heat took it.”
That was it.
No explanation. No attempt to soften it.
I stood there for a moment, then walked back out to my truck.
Back on the road, it no longer felt like something to understand.
Just something to accept.
Color Without Bloom
At Artist’s Palette, the hills hold their colors the way stone holds memory.
Revealed over time, quietly, without asking to be seen.
Long before anything living could take root here, this land went through fire. Volcanic ash, heat, pressure. Over time, minerals rose to the surface and met air and water. Iron turned into reds and ochres. Manganese carried the purples. Copper and other minerals brought out soft greens.
What looks like paint is time.
And yet, standing there, it did not feel like geology.
It felt closer to an abstract painting.
The palette is familiar.
That quiet conversation between green and rust.
Between pale mint and dusty rose.
A trace of lavender moving through it.
Not clean color, but weathered color.
👉 The same palette that keeps returning in my Strip Paintings.
On the Cold Press Paper, I lay these colors in bands, one next to the other, letting them speak without forcing meaning. A soft green leaning into a muted red. A faded pink holding space against a darker earth tone. Sometimes a thin line of violet passes through, almost unnoticed, yet holding everything together.
Standing at Artist’s Palette, I could see where it comes from.
I realized then that I had stopped looking for flowers.
The search had fallen away somewhere behind me, on those long empty roads.
What remained was something else.
Color without bloom.
