Above a creek on the grounds of the Djerassi artists residency, at the time of this narrative, artist John Roloff was installing Vanishing Ship. In contrast to Roloff's earlier dark, ice and snow encrusted Nightship/Wind Mountain/The Frozen Sea, as if it was the prow of a ship emerging from or descending into the land, his ceramic and weathered glass Vanishing Ship functioned as a terrarium for native plants.

Near the same creek, embedded in the landscape, going downhill, detached from destination, from found redwood, artist David Nash had sculpted a series of jagged mossy steps.

Although not on the road to Huygens, the secluded place where these works were installed existed in the same coastal hills environment. That Huygens lay in the middle ground between her San Francisco Studio and Griff's North of Santa Cruz beach house was, Caydance thought, not surprising considering the role of traversing California landscape in her past, present, and future life. In a few days, she and Griff would drive down coast to his beach house. They would walk on the beach, pack comfortable clothes for their honeymoon, go out to dinner on the Santa Cruz wharf, spend the night together.

Today, she was in her San Francisco studio, working on Sido's commission.

Rising black curator Sidonie Frazier lived in the Oakland Hills, where her collection of works by Bay Area artists was housed. Inspired by Rene di Rosa, the creator of the di Rosa Center in Napa, Sido wasn't wealthy enough to found a museum, nor were the pieces she collected as large as Rhinocar, the David Best Oldsmobile and found objects that graced the di Rosa lobby or Viola Frey's ceramic Reclining Nude that sprawled in shades of blue and orange in the Di Rosa courtyard.