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The extension of one's relevance beyond significance, perceived through a journey to enrapture innate curiosity, tempers fate & resolves truth.


"ScorpinStella" © 2005 Brad Michael Moore




Howard Rachofsky


I have learned in my life, and a lot I have forgotten as well. I agree a successful artist needs a support team - a family - either real, or accumulated. My issue is - I'm at the top of my creative force & I am 64. I have done every kind of photography that can be done - my professional career began in 1970. I had a vision in the mid-1980's - when I was still mostly, a landscape artist. It was Abstract Art! Back then, I had the chance to know, Howard Rachofsky, in Dallas, Texas. This was in the days when he owned a home in Preston Forest. My brother, Tully Weiss, installed the world's first FAA certified, Residential Laser Light System, to enhance the atmospherics of Howard's home, and contemporary art collection - much of which, already, was stored, or on loan to museums, and galleries around the world... Howard purchased a very nice commission from me. It wasn't his style [Landscapes], but he purchased it none-the-less. Howard also helped me with a very personal matter that he had no reason to get involved in - but Howard is just that kind of guy.  He either saw something in me, or, maybe, he is just a very generous person to those surrounding him. What was most important, to me, was what Howard exposed me to - his Abstract Collection of 2 & 3-D art. For a period - Howard talked a lot about his art - the artists he collected, and what it was about their work that got him so excited, - unlike the Hedge Fund Business. His, Stella Collection, was what most impressed me! As I moved forward in my life - our relationship was severed, but those early abstract impressions became attached to me in a way that, eventually, allowed me to become an Abstract Artist myself! It took nearly 20 more years, before I felt I had finally unlocked the key to abstraction. In the meanwhile - I had to deal with an analog world - that was becoming a digital world. It was the new Digital World that became my savior! Meanwhile, I left Dallas, and became a Folk Digital Artist, and live in rural isolation for the next 24 years. Now, I'm ready to, again, greet the world that went on without me... I have no supporting family, or artistic community. But I have 12 years of Digital Artifacts - my electronic artform, and here is where I stand... Wish me well, and I'll bid you blessings in return! Salutations! - Brad Michael Moore




"Clearcut" © 1987 Brad Michael Moore




Edward Fritz Tribute


By Brad Michael Moore, Artist (formally of Dallas, TX USA - now living in the hard scrabble of Jack County, TX...)

I have been out of touch with my hometown for a long while. It was only through web browsing I came upon Andy Mahler’s most sincere tribute to Edward Fritz. Ned lived a grand and long life. I remember finding Ned Fritz already well defined in his life while I was just a youngster, unafraid to introduce myself to anyone. I read about Ned in the Dallas Morning Newspaper, back in the early 1970’s. The article was about a fuss, locally, over Ned’s back yard. Ned was a sprightly 56 years of age, and I was a 21-year-old professional photographer – native to Dallas. When we met - we became fast accomplices.  I had a eye for natural composition, and Ned was a natural at being a mentor, and teacher. Edward Fritz was always brimming with enthusiasm, and never took defeat as an obstacle – but rather, as just another bump in the road of opportunities one passed to get where one needed to go.


Ned was a light-framed fellow, brilliant and curious, who could size up his competition faster than they could tie their shoelaces. When I first read about Ned, I already had and idea about his steadfastness. I knew some considered him a liberal lawyer just making a fuss over, “cutting the grass.” The issue grew far deeper than that. Ned argued that he would never alter the landscape of his (and wife Genie’s) Homestead from it's "Natural State," just to blend in better with the other neighbor’s yards – long ago raped and manicured to suit their own self images. To look at their yards was to look at air. To look at Ned’s yard was to look at God. Ned allowed the environmental flora growing upon the land of his homestead to do as nature would choose to do… Ned was just a Ward - keeping an eye on all things natural. The Fritz’s home was backed up to a creek in a greenbelt area running just of south of Northwest Highway, near Midway Road - smack-dab in the middle of Dallas, Texas.


Ned allowed my unannounced visit to his home one morning and introduced me to his wife, Genie, who was going off to play tennis. The first glimpse I noticed, coming into the house, were lots of glass windows in the back walls, and lots of organized stacks of newspapers, magazines, papers, and more papers on the floors around his desks, cabinets, and such ({*} today - all the information from all those stacks of paper data could be kept on a single keychain Flash Drive). At that time, I wanted to concentrate on improving my skills as a nature photographer, and I hoped Ned would have some suggestions. Ned told me he could not offer me much over the art of nature photography, but he could show me a lot about nature, and in that knowledge – I could benefit. In fact, as it turned out, Ned was always in need of photo ‘foot soldiers’ who could take leave of the big city on short notice, and didn’t mind sleeping under the stars in the great outdoors!


Ned would be spending a lot of time (in the next dozen or so years) traveling, and studying flora and fauna habitats in the Texas wilderness areas, and its National Parks. He knew volumes, but he wanted to better document (and change) a misguided and unnatural logging practice called, “Clearcutting,” and show how it adversely affected biodiversity and the future of our national treasures – the National Parks of America that contained manageable timber stock. Before I left Ned’s house, that day, I was already committed to being one of his ‘go-to guys’ for short-notice trips to the National Parks and wildlife areas in Texas for purposes of photo-documentation. Later, our travels spread out through the eastern sections of North America’s National Wildernesses. Ned already had a working plan – a call to action to protect our woods. His work had only begun.


As time went by, Ned and I sojourned throughout east and southeastern Texas, visiting public and private lands, holding unique natural habitats and damaged landscapes. I would sometimes complain to Ned, "You always call me to take the ‘worse’ pictures in nature,” meaning the ones depicting abuses to our national treasures – pubic lands covered with ruinations rained down upon them through government contracts given to private companies by our National Forest Supervisors – ‘Wards’ of our great national resources. Contracts were dealt at cut-rate prices to the paper and lumber industries – many using the worst practices of Clearcutting, and road building procedures, which were as bad as it gets when meaning to destroy natural habitats - preparing for their replacement with monocultured scapes – unfriendly to animals, flora diversity – and even water quality. So, I rarely ever photographed the good stuff – but instead, documented the horrors of terrible land management practices and the scars they left behind… “This is the important stuff people need to see,” Ned would always say. For that – there was no greater truth, or sensible counter-argument. Knowing this, “Truth,” was often my only comfort – during many a sultry mid-summer night’s resting under the stars (while being feasting upon by mosquitoes).


I loved making a positive mark upon the slow swing of progress - in saving our forests, and their wildlife and flora… I detested that it often times seemed such a painful endeavor though, requiring so much devolution and attention. I also took pleasure in the fortune of being that cog in the wheel - its veer rolled towards a potentially better future for generations to come – a future allowing new generations a chance to experience something as near to pristine as we have known. Though I was only in my twenties, I came to see that, “This Hard Work,” would reflect the true value of ours and many other like-minded people’s efforts, and it would be effort worthwhile (even if never-ending).




"Trout Lilly" © 1975 Brad Michael Moore


A few light moments… Once Ned and I were crossing a stream, and he stopped, as he was constantly prone to do, and pointed to a little whitish & pale green two-leaf sprout at a stream's edge and shouted, "Trout Lilly!" It seemed so small and insignificant – just another clue the wonder of Natural Biodiversity. Ned could see a grain of sand inside a needle – if he were to pass it. Another time I lagged behind Ned and walked (fell) into a sinkhole – landing still standing upright! I photographed the exit – just a bit out of reach, while I waited for Ned to notice me missing, back trace his steps, find me, and help me out. Later that day, Ned showed me a fern that was sensitive to the human touch - I touched it - it rolled up and folded over. After a while, it reopened! I touched it again - and this time it closed for the foreseeable future – no fooling it more than twice! There are so many treasures at our feet – Ned Fritz helped teach me that lesson, and it was but one of his gifts I still use everyday – so many a small treasure I have found under foot since!


"Trail Watcher" © 2017 Brad Michael Moore


I was very honored in the mid 1980’s when Ned asked me to help him illustrate his next book - to be titled, “Clearcutting: A Crime Against Nature,” published by Eakin Press. Ned had a friend, pilot Charles Johnson, who flew a single engine Cessna. It would be a great tool in our travels – to fly so close to the ground you could almost imagine awakening a sleepy Earth. With me in the backseat with my cameras, and Ned riding shotgun, Charles flew us all about the eastern United States. We stopped and visited every National Forest we could find, and met with, and often took shelter with fellow activists and other protectors of our nation’s natural heritages (that is how I met Andy and Linda Mahler). Starting from Texas, we headed to Florida, and then up the Eastern Seaboard to Washington D.C. - where we stopped for Ned to do some lobbying (I walked from the steps of Capitol Hill to Arlington Cemetery one day). Then we flew west from Maryland to Indiana - before headed back south and home with 20-something new notches in our wilderness belts. It was a nearly month-long journey.


I have been thinking of another great gift Ned left for me to muse over… When my friend passed away – I was the same age as he was - the first day we met. It inspires me to imagine over all that he accomplished - after many others would have begun considering their retirement! Ned’s life shows me proofs that there are still many more miles to go before I rest, and so many dreams yet to explore, and gifts to find and give away to others…


Monday, 2 AM, February 8, 2010


"Sink Hole" © 1976 Brad Michael Moore