Galveston Bay Foundation - Was This Their Marsh? Choosing the whooping crane for the Galveston Bay Foundation piece.

I started with a question. Was Galveston Bay ever whooping crane territory? And if it was, could it be again?

The first answer is in a grave. At Mitchell Ridge on Galveston Island, archaeologists recovered eleven whistles made from whooping crane wing bones. Each has a single air hole, plugged with asphaltum to shape the tone. Four are engraved with fine geometric lines. They were buried with people, in graves from the Late Prehistoric through the Early Historic period. No crane bones turned up in the camp refuse, among the fish and deer. The cranes probably were not dinner. Someone took the bone of a bird that calls across a marsh and made it call again.

Similar bird-bone whistles, some from whooping cranes and some from great herons, have turned up around Galveston Bay, in southeast Texas, and in southwest Louisiana. This was a regional tradition of making music from the coast's biggest wading birds.

The written record agrees. Nineteenth-century travelers described the whooping crane as a common winter visitor on the Texas coast. By 1900 it had largely vanished from that coast, except for one peninsula that became Aransas National Wildlife Refuge. In the winter of 1941, fifteen or sixteen migratory cranes wintered there. Every whooping crane alive today descends from them.

So the crane never left Texas. It was pushed out of most of it.

Today about 540 winter around Aransas, near the record of 557 the winter before. It is the largest wintering flock in the modern record, and still well under half of even the most conservative estimate of the mid-1800s. Nearly all of those birds are in one place.

Then there are the cranes that stay. In 2021, two pairs from Louisiana's reintroduced, non-migratory flock built nests in Jefferson and Chambers counties, the first documented nests in Texas since the late 1800s or early 1900s, depending on the source. Chambers County sits on the edge of the Galveston Bay complex. Both pairs nested twice. Neither raised a chick.

I can't point to a record of cranes living in the bay year-round, and I won't claim one. I can say this was crane country in winter, and that the habitat is not gone. A 2018 Christian Science Monitor report said enough protected land exists between Nueces Bay and Galveston Bay to support more than 1,000 cranes, nearly double today's wintering flock. The same report quoted a staff member at the International Crane Foundation's Texas office, who said the coast has already lost half its wetlands.

That is why the marsh is the story, not just the bird. A crane needs wetlands, blue crabs, and room.

Could the bay be crane territory again? I don't know. But it's worth asking about a coast that once held them.

What other birds are in the piece is the subject of the next post.

To Soar - Nick Finnegan Counseling Center piece, the collage is finished.

The drawing is finished. The tearing and gluing is finished. Eight feet by eight feet of paper, torn and layered into relief, is hanging on the studio wall — cranes lifting out of a wetland, water lilies, the suggestion of grasses and butterflies threading through all of lif’s messiness.

What remains is the part that scares me most: color. I say that not because I love this phase more than the others — I love every phase — but because fear and love have a weird relationship.

I do not start by mixing paint. I start by looking.

For days now I have been walking through my own life cataloguing proportion — not “what color,” but how much of it, and next to what. How much white beside how much gray. What a tint of gold owes to the sage beside it. Color is never one thing. It is a relationship, the same way a wetland is a relationship: heron and reed and light and silt, none of it legible alone. You cannot ask what a marsh “means” without asking what touches what. Color works the same way. A white is not a color until you tell me what it’s standing next to, what light shines down on it.

This is the practice I call seeing in systems, applied now to a palette instead of an ecosystem. Nothing exists alone. Everything is calibrated against what touches it.

So the search has been for whites — not one white, a whole kinship of them. Bone. Ash. Chalk. The pale underside of a wing. I keep returning to these because I want the piece to hold its intensity in texture rather than saturation: quiet enough that a viewer has to lean in to find the relationship, the way you have to get close to a marsh Abd close your eyes to hear what’s actually happening in it.

I think of the piece in three layers, each one a different organ of the same body. The drawing was the nervous system — the first signal, the line that tells the rest of the piece where to go. The torn paper is the bones — structure, weight, the thing that holds a shape upright in space. Color is the skin. Not decoration. The surface where the organism actually meets the world, where light lands and is read.

None of these layers works without the others. That is the whole point, and it is also be the hardest thing to remember tomorrow when I’m standing in front of a wall of white paper deciding where to place the first true color: the skin will not replace the skeleton. It will reveal it.

The color post will come later, once I’ve actually made the decisions I’m circling here. For now, I am still in the research — still walking around gathering whites, still asking what these torn, dimensional cranes want to become once light starts landing differently on every ridge and shadow the tearing created. Terrifying. Exciting.

Watercolor inks I will mix from.