I followed the prescriptions I had learned from researching the making of a kachina, and tried to honor the culture from whom I borrowed the actuation "medicine" process. I was not trying to make a kachina from another culture but make one from a new cultural point of view.
The wood was gathered from a dead root of a live cottonwood tree to which I had made offerings and vigilant attendance with profuse intent.
It was carved and shaped by hand and painted with water-based high-quality tempera.
The design is based heavily on a self-actualized Christian prodigy with a new face for a more universal "inclusive" paradigm. (A bit of me in it.) I purposefully included a blue heron feather that I collected from the lagoon at UCSB on one of my many returns to this sacred place founded by me in the late 60's. I had a dream and this was part of my realization while preparing for a life of teaching art and caring about the children of our future.