“The Reflective Powers of Water as Visual Alchemy” is California artist Marques Vickers photographic edition of over 120+ images of inverted and reflective objects created by water exposure. The diverse photo sequence was captured through various bodies of water and fountains throughout northwestern Washington State. FROM THE PREFACE: The transparency properties of water create magical illusions for reflective and submerged objects. Their reappearance creates inverted shapes and forms resembling non-objective artwork. Water based distortions become variations of substance and shadow resembling visual alchemy. Though water appears crystalline, in truth its instinctive properties are a slightly bluish hue. The accentuated surface tension diffuses and redistributes color seemingly random and erratically. The interaction between deconstructed color created layers of overlap suggesting a deepened texture. Alchemy in its purest form is the ability to transmute base metals into noble and precious derivatives such as gold. The practice of western alchemy dates back to ancient Egypt with the city of Alexandria as its capital. Islam and Asian based religions embraced the shadowy art from their earliest inception. This ancient transformation of base metals symbolically assumed a spiritual dimension as an elixir of life. In the context of water reflection, linear shapes are restructured into abstractions and curvatures. Objects are liberated from their fixed matter and reshaped into fluid forms lacking edge and definition. The decline of alchemy as an established practice was facilitated in the early eighteen century by the rise and acceptance of modern scientific methodology. Ancient spirituality and mysticism were displaced by experimentation and quantitative comparison. Chemistry universally replaced the role of alchemy. There remains a space for interpretive alchemy when one views the unlocked reflections stimulated by water. Restructuring matter becomes as mystical as water transforming into vapor under extreme heat. Does not life resemble a vapor? demands the poet. There is room for suspending concrete imagery and structured color each time we view the reflective and distorting properties of water. The results create stunning and unimaginable imagery.

“The Artistic Properties of Reflective” is California artist Marques Vickers photographic edition of over 105+ captured images of inverted and reflective objects mirrored by glass. The diverse photo sequence was captured through a variety of windows from the port district of Tacoma, Washington. FROM THE PREFACE: When lightning strikes sand, the optical dispersal of imagery mirrors and scatters coherent composition. The alchemy involved in forming glass creates curtains of fluid and reflective waveforms. This distortion reassembles appearance into fresh reconstructions. Reality is transposed into a hallucination of disintegrating elements, elevating its innate simplicity into multi-dimensional appearance. This deconstruction process enables a viewer to visualize objects into unimaginable patterns. We are confronted with a vision that challenges our neatly and concisely constructed assemblages. We are compelled to acknowledge the inner layers of composition superficially invisible to the eye. We break imagery into constructive granulated sands that ultimately disjointed unions. Alchemy in its purest form is the ability to transmute base metals into noble and precious derivatives such as gold. The practice of western alchemy dates back to ancient Egypt with the city of Alexandria as its capital. Islam and Asian based religions embraced the shadowy art from their earliest inception. This ancient transformation of base metals symbolically assumed a spiritual dimension as an elixir of life. In the context of glass reflection, linear shapes are restructured into abstractions and curvatures. Objects are liberated from their fixed matter and reshaped into fluid forms lacking edge and definition. The decline of alchemy as an established practice was facilitated in the early eighteen century by the rise and acceptance of modern scientific methodology. Ancient spirituality and mysticism were displaced by experimentation and quantitative comparison. Chemistry universally replaced the role of alchemy. There remains a space for interpretive alchemy when one views the unlocked reflections stimulated by glass. Restructuring matter becomes as mystical as reconstructing sand particles into sheets of solid matter.

“The Architectural Elevation of Technology” is a photographic survey of 75 prominent Silicon Valley corporate headquarters buildings. The 134-page edition is photographed and authored by California artist Marques Vickers. The geographical territory included with the book is framed to the north by Redwood City and extended to the south until Cupertino. Corporate headquarters are included within the cities of Palo Alto, Santa Clara, Mountain View, Menlo Park, San Jose, Sunnyvale, Milpitas and Fremont. Notable structures include the Oracle, Samsung and the Apple 2 campus, currently under construction. Background is provided on each building’s history and when each present tenant began their occupancy. “The photo project’s motivation was based on my curiosity as to the public face of the information technology sector,” notes Vickers. “Did the more prominent companies mirror the aesthetic polish of their online renown and presence? Would their architecture reflect the affluence and prosperity many of these industry icons have come to represent?” “Silicon Valley technology parks, corporate campuses and headquarters appear indistinguishable from other more traditional office construction. Their appearance is generally consistent with contemporary design trends favoring reflective glass framed by steel and masonry.” Vickers observes in his accompanying commentary several distinctive traits regarding high-tech constructions. Among those include decentralized layouts, lack of streetfront parking and the significant shielding of inside views by landscaped trees and foliage. “The true innovation and resources appear to have been concentrated on interior space management schematics and novelty design.” Vickers adds, “The intention is purposeful. By creating a playful and aesthetic interior environment for employees, many are inclined and stimulated to spend significant additional hours on work-related projects in the facility. Social bondings are encouraged, creating a synergy of professional comradery. Working hours assimilate into lifestyle preferences.”

Michael McCaffrey has lost his teaching idealism, but not pragmatism towards his profession. “Teaching with One Eye Shut” escorts you into the classroom, faculty room sanctuary and campus grounds of St. Elizabeth-St. Ignacious (SESI), a northern California Catholic high School. Your host, McCaffrey is an eight-year business instructor beyond the burnout stage and uncertain as to his future in the profession. His turmoil carries over into his personal life and relationships. McCaffrey shares his clear-eyed observations about classroom instruction, discipline, peers and the bureaucracy accompanying teaching. He dismisses imposed school administration artificial team-building tactics. For him, teachers are individuals expressing their point of view on subject matters as they visualize it. Peer’s advice and Principals are of marginal value. His evaluations are often cutting and dismissive. They are balanced by periodic inspiring and surprising heroics emerging from unlikely sources. McCaffrey seemingly has an unflinching opinion about everyone and especially himself. His students can be a distracted and devouring audience, but he is genuinely appreciated. He introduces the reader into the authentic and sometimes erratic nature of classroom lecture and discussion. His teaching subjects include technology, marketing and law. His students’ responses address more poignant issues including racism, home life and their futures beyond schooling. The deeper exchanges are often conducted between classes or emerge amidst casual conversations and daily interactions. McCaffrey addresses timely issues over the success and shortcomings of contemporary education. He concludes that society comfortably maintains misplaced priorities and ignorance towards education and its practitioners. He takes issue with uninvolved parents who drop their children off like dirty laundry and expect a private institution to cleanse them of their bad habits while educating them. He maintains that Catholic education is distinct and different from public schools. His conclusion is based on expected behavioral accountability and reinforced discipline, rather than superior personal, facilities and educational techniques. A school’s objective remains to stimulate a graduating class of lifelong learners. This lofty goal is tested daily by certain under-achieving, troubled and unmotivated students, neurotic faculty members and hamstrung by trifling misdirected rules. McCaffrey notes that victories surface when his contemporaries enable students to navigate the tenuous labyrinth of adolescence and learning His varied observations encompass teacher liability, absence policies, and career burnout, objective grading, classroom discipline, school fundraising, compensation, athletic programs, peer gossip and pranks, equipment deficiencies, and dress codes. McCaffrey is SESI’s acknowledged faculty satirist who zealously guards his private time absent of extra-curricular supervisions. He is never a perennial candidate for Teacher of the Year honors. His cast of instructional intimates and foils include basketball coach and confident Rich Ringer, siren Suzzi Issacs, milquetoast Dennis Greeley, incompetent Alex Orrigo, misdirected Tim Lovelace, mumbling Principal Brother Moody and a colorful parade of diverse and eclectic personalities. A variety of candid and favorite students are introduced with the irrepressible Ralphie Houwser heading the list. McCaffrey feels trapped by his inability to move forward with his life. A year ending interaction with one of his peers offers him hope. Will a Parisian rendezvous on Bastille Day become his ultimate liberation from professional and personal stagnation? “Teaching with One Eye Shut” addresses the fragile and volatile role of mentors and educators. McCaffrey’s memoir offers a realistic and humorous view of the realities behind high school instructing, spiced by his periodic exaggerations.

Author Marques Vickers returns to his hometown of Vallejo, California with his memoir “You Can’t Return Home Except Through Photographs and Memory”. The personal narrative traces his formation within a community that through his eyes has slipped a notch from both the middle-class and affluence. Vickers employs a light but candid tone on a gravely perceived subject, Vallejo’s regressive deterioration. The suburban San Francisco Bay Area town of 120,000 was formerly the California State Capital twice and home to the Mare Island Naval Shipyard. The base closed in 1996 creating an employment void that prompted stagnation within the downtown core. Vickers was raised locally during the 1960s-70s. He traces the specific causes for decline as the proliferation of long simmering racial tensions, homelessness, aggressive criminality and drug trafficking. Returning in 1987 as an adult following a twelve-year absence, he was struck by the town’s smallness of scale. In spite of the successful recruitment of Marine World Africa USA in 1986, the addition has not elevated Vallejo into a desirable extended stay tourist destination. He observes that seemingly for every positive step forward, the city tends to relapse two steps backwards. Despite the deterioration, most Vallejoans he knows are proud of their grounded heritage. His text is far from bleak and bitter. He cites the town’s distinctiveness, attractions and diversity that positively impacted his personal development. His photo compilation was prompted by a return for the funeral service of a 90-year-old friend Andy who died on New Years Day 2017. Andy, a former longtime resident, avoided local visitations noting the degenerating conditions from his residence in adjacent Benicia. The author’s own series of memories were exhumed at the same time as the body of his friend was being lowered into the ground for burial. Vickers surveys the present tense community with his camera lens portraying a bittersweet reality. Although he cannot overlook the obvious, he hopes the current downtown may ultimately be viewed as an isolated puzzle piece fitting into a larger positive legacy. Balancing his criticism with objectivity, humor and insight, Vickers attempts to accurate portray a subject he mourns and knows intimately.

This edition is an intimate photo examination of the infamous Butte, Montana sex trade once nationally recognized during the late 19th and early 20th century. Over 135 current photographs document the remnants of the famed copper mining town’s prostitution core. The work details historical anecdotes, narratives on colorful personages and perspective on an era when prostitution was locally institutionalized. The remaining Dumas Brothel is a profiled parlor house noteworthy for its operational longevity between 1890-1982. The Dumas is the longest tenured American house of prostitution. The property weathered numerous reform movements and attempts towards forced closure by governmental authorities. Owner tax evasion ultimately shuttered the property. Across the road is the Blue Range Building, the last street-facing example of the lowest extremity of prostitution once employed within the district. The seven sets of ground floor doors and adjacent windows housed segregated cubicles called cribs. Diminutive cribs accommodated only a single bed and an occasional washbasin. Lower esteemed prostitutes serviced clients from these utilitarian spaces. Butte’s prostitution industry reinforced a rigid hierarchy of distinguishing elite mistresses for the affluent and influential, from lowly street solicitors. The lifestyle of sex professionals was plagued by drug addiction, financial debt, sexually transmitted diseases, pregnancy, abortion, violence and abuse by their patrons and jealousy-motivated clients. Suicide was common even amongst the highest regarded women within such a cannibalistic environment, During the turn of the twentieth century, Butte was one of the largest Rocky Mountain population centers. Its licentious reputation mirrored contemporary Las Vegas. Unlike many western frontier settlements, cowboy culture made minimal intrusion. Butte’s red-light district is a haunting environment with a complex past.

Shadowlands is a photographic concept edition accentuating contours, silhouettes and dominant color compositions of 150 photographic images. Many of the images are recognizable icons and landmarks. They are transformed into graphic arts appearance by employing photo imaging software. The accompanying shadows create a foreboding and often sinister impression. The result is a glimpse into the unconscious white space that frames and lightens photography. Photographer Marques Vickers has assembled a diverse portfolio of internationally compiled images. Their reverse lighting reinvents the impression, often upsetting our conventional interpretation of their substance and matter. The effect mirrors the surrealists’ notion of superficially unseen structures that open the portal for interpretative meanings. Imagery is enabled to transcend precise and simplistic definition.

A compilation of chronological written correspondence can provide valuable insights into the growth and development of an individual. “When Letters Still Mattered” is a 137-page autobiographical portrait by California artist Marques Vickers. Each profile candidly summarizes the effect of thirty writings and individuals that distinctly influenced his life. His early writings reveal glimpses of his immediate family relations including several humorous and touching accounts of his Alabama raised aunts, beloved grandfather and his most remembered letter from his mother recounting the separate and unexpected deaths of three acquaintances. Drawing from his formative years correspondence, Vickers recounts the exploits of an ethically straying local minister, his close relationship with his freedom-obsessed dog and his reaction to a greeting card delivered on the morning of Christmas Day by the postman. Subsequent chapters address his earliest failed encounters with intimacy and romance, a fortunate near-miss and his ongoing resolve to achieve equilibrium with a partner. He traces the labyrinth that defined his first marriage, initially fueled by a tenderly composed poem. Vickers shares lessons and disappointments culled from an often dehumanizing workplace and a noble gesture of fidelity that transcended his own humiliation of being very publicly fired from a high-profile job. The author details a twenty-year friendship with a mentor, Marshall, once a renowned public personality. Marshall had formerly managed the swank Los Angeles Coconut Grove nightclub, Las Vegas Flamingo Hotel and dated actress Marilyn Monroe during her prime. Marshall’s own fallen acclaim due to his 1950s Las Vegas association was accompanied by an admirable loyalty that he maintained until his death with formerly renowned actors, prizefighters and celebrities that had endured their own reversals of fortune. For the author, Marshall’s insight and experiences provided an enlightening glimpse of the tenuousness of fame. Weaving through various accounts, Vickers encounters a variety of diverse personalities, acquaintances and friends, ranging from a perverse travel agent he encountered in Rio de Janeiro to a counseling therapist seeking to sort out her own passionate and wordy nature. His final chapter concerns a book inscription sent to him by painter Andrew Wyatt’s famed muse Helga Testorf as a notable gift of friendship. Her ordeal and the accompanying controversy and public condemnation she endured were overshadowed by the dignity she maintained throughout in his eyes. The passages from each correspondence are concise with the focus oriented primarily on Vickers’ interpretations and storytelling. The cumulative effect of his analysis is that of an artist looking inwardly and coming to terms with who he is, how he arrived there and why he actively creates. This mirror of one’s past and the resulting conclusions become a reference guideline. The author discovered these illustrative samplings shaped his present behavioral patterns and decision-making priorities. The texts provide tangible and enduring time capsules of thought and expression by individuals who mattered most for diverse reasons to the author.

“So You Think You Know Washington State Wines?” is designed to simplify your understanding by identifying growing trends, grape descriptions and the history of Washington wine production. The edition profiles the 15 top wine grapes and the unique aspects of the state’s growing sectors. The 62-page edition is idea for wine collectors, winemakers and anyone who appreciates a world class Washington vintage. The following are just seventeen from hundreds of little known facts about Washington wines and the 2015 grape harvest. 1. Washington is the second largest producer of premium table wine in the United States behind California. Washington’s harvest comparatively represents only 6% of the overall California production levels. 2. Washington’s red grape varietals harvested 112.8 thousand tons in 2015. The closest California equivalent was the San Luis Obispo, Santa Barbara, and Ventura County. 3. The State of Washington harvested 222 thousand tons of wine grapes during the 2015 harvest, down 2.2% overall from the previous year. The deficit was attributed to the excessive heat conditions and a reduced Cascade Mountain snowpack. 4. Red varietal grapes account for 51% of the total production and actually increased yields by 5% during the 2015 harvest. 5. Cabernet Sauvignon was the top-producing grape during 2015 with 47,400 tons, representing 21% of the overall harvest. Cabernet Sauvignon had the largest growth rate. 6. White Riesling was the top white wine and second most overall produced grape with 44,100 tons, accounting for 20% of the total. Washington produces more White Riesling than any other state. 7. Chardonnay was the third most produced grape with 42,000 tons, Merlot fourth with 35,200 tons and Syrah fifth with 16,000 tons. 8. Grenache Noir is the most lucratively priced wine grape in Washington and sold for $1,722 per ton. Cabernet Sauvignon averaged $1,527 per ton, an increase of 5.5% from 2014. Cabernet Sauvignon sells in the Napa Valley in excess of $6,000 per ton. 9. The growing regions of San Luis Obispo County, Yakima Valley and Walla Walla Valley share numerous similarities. Their topographies feature expansive arid flatlands surrounded by hilly terrain. Each region has a long historical agricultural tradition. 10. Top-tiered Washington vineyards have commanded pricing between $75,000-$80,000 per acre. Large established vineyards have been documented to sell for $25,000-$30,000 and bare unplanted terrain often averages $10,000-$15,000 per acre. 11. Washington has 14 American Viticultural Areas (AVAs) recognized and defined by the United States Treasury Department. Seven have only been established within the last ten years and three stretch across the Oregon border. 12. The primary growth advantage Washington offers over neighboring Oregon is the capacity to expand wine grape cultivation. Washington has twice as much plantable acreage available. 13. Today, 98% of the wine grapes grown are east of the Cascade Mountains. In 1970, there were only ten official wineries in all of Washington. By 2000, that figure had expanded to 163 and by 2010, more than 700 wineries. Currently it is estimated that there are over 900 wineries. 14. The two largest Washington growing regions, the Yakima and Walla Walla Valleys share the topography of a desert landscape and the tributary waters of the Columbia River branching out via the Yakima and Walla Walla Rivers. 15. The Walla Walla Valley averages approximately the same annual rainfall levels as the Napa Valley (21 inches). The Yakima Valley received even less rainfall (8 inches), but is supplemented by a snowfall level of 23 inches. 16. The Yakima Valley profits from the accumulating rains and snows of Mount Ranier and Mount Adams, part of the Cascade Mountain Range. The melting Spring snowpack results in substantial volumes of water that are channeled into the region and directed by canals and aqueducts into the agricultural basins and hillsides.

Over forty years after the groundwater table of the Silicon Valley was declared contaminated, the source remains tainted and unfit for human consumption. Twenty-five former toxic waste sites are profiled “In Search of Toxic Silicon Valley: The Subterranean Poisoning From High Technology Manufacturing”. The edition focuses on visually documenting the contemporary redevelopment of these properties decades after they have become removed from closer public and media scrutiny. During the 1960s through early 1990s, an environmental disaster originated from leaking hazardous chemicals and solvents employed in semiconductor manufacturing. A lethal combination of Volatile Organic Compounds (VOCs) seeped through on-site industrial storage containers. These concentrated leakages formed toxic plumes that penetrated between thirty and five hundred feet beneath the ground surface. The plumes ranged from three hundred feet to ten miles in length. Drinking water, regional creeks, streams and estuary lands were affected. The result has left the technology heartland with an extended network of contaminated groundwaters. The resulting contamination of soils and waters created a large-scale clean-up dilemma for a region that has sustained prosperity from the evolution of the technology industry. Neighboring public health consequences have included documented elevated statistics on cancer rate spikes and birth defects. Limited follow-up litigation has generally resulted in no-fault disclosure financial settlements. Only one individual has faced criminal related disposal charges and was convicted of ten misdemeanors. Federal Superfund clean up projects began in the 1980s, coordinated by the U.S. Environmental Protection Agency (EPA). The Silicon Valley has the highest concentration of Superfund sites in the United States. Reclamation projects transported polluted soils to federal hazardous waste sites. Water excavation pumping, filtering and monitoring stations were established. These ongoing treatments have reversed groundwater contamination levels to acceptable EPA standards. They have not completely eliminated the toxic compound presence or eradicated the risk of vapor intrusion aboveground. Silicon Valley groundwater remains unacceptable for public consummation. The most affected cities currently outsource drinking water from the Hetch Hetchy reservoir in Yosemite, Sacramento Delta, San Luis Reservoir and long-established municipal and private wells. The subsequent reuses of formerly contaminated parcels currently include residential, retail and commercial developments, a shopping center and church. Only a small percentage of lands remain dormant and these are targeted for future development. The Silicon Valley manufacturing era remains a discreetly mentioned blight to the legacy of the industry. The semiconductor manufacturing process has subsequently been relocated offshore. Instead of prioritizing hygienic solutions for production and waste disposal, the shifting has reportedly created an equally dangerous source of dioxin pollution transported globally by prevailing winds and ocean currents. The author’s research is based exclusively from EPA archived documentation and related contaminant databases. The text and photographs are best summarized in his chilling opening paragraph: This is a story about unhappy endings. This is a narrative about how the manufacture of technology has potentially forever poisoned the subterranean strata of the Silicon Valley. In brief, this is a horror story.