
In North America, the oldest images put onto rock date back to almost 13,000 BC, deep in the Ice Age. Those types are rare. Most of what you see — phantom-body figures, snakes, lightning bolts, shields, hunting scenes — come from the last handful of millennia, animistic hunter-gatherers and corn-bearing agrarians, the rise of Native America.
Last month I had a new book come out, “Tracing Time: Seasons of Rock Art on the Colorado Plateau” (Torrey House Press 2022). It was my ‘pandemic book’, the thing I wrote during lockdowns when I spent more time with ghosts and serpent gods than I did with living people. After decades of establishing connections in Indigenous and scientific circles, I decided it was time to write about images that, once you start looking, you find all around you, every inhabitable continent scribed and painted with this kind of ancestry.
I live on the Colorado Plateau, a swollen, high-desert landmass pushing up on the Four Corners. Cliffs and boulders are well decorated with rock imagery, what is sometimes called rock writing. If you spend time here, you can’t help seeing it, taken to a panel on a rancher’s land, or pulling off the side of the highway with binoculars, looking up a cliff at a dizzying array of dancers. Who are these people, what were they saying, and what are they saying now? These were the subjects I wrote about in the book.
Rock art can be rubbing, scratching, pecking, painting. A pictograph is painted. In green, red, yellow, and white, you’ll see strokes of big yucca brushes being used a thousand years ago, or sometime a two-hair brush depicting the feathers of a tiny bird. A petroglyph is chipped into the rock, often with a hammerstone and a bone chisel. Sharpened deer leg bones work best. This reveals brighter material underneath, a painstaking process, shoulder against the wall, blowing out dust, pinky fingernail scratching out lodged sand grains. In their day, when they were fresh, these petroglyphs would have popped like neon, as bright and dynamic as any paint.
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