like-minded

The Death Rides poster was produced in 1933 by the US Forest Service, but I've sadly never seen the specific artist named anywhere. It reflects the pretty typical attitude of the time that fire=bad, that it leads to death as a negative thing. It's also one of the most popular pre-Smokey Bear fire prevention posters. This thing is EVERYWHERE, especially in wildland fire circles. It's on posters, shirts, even a few logos.

I have never seen a GOOD reproduction of the thing. I feel like there's got to be a good quality one sitting around somewhere, but it sure doesn't seem to have made its way onto the internet. They're all grainy with strange color splotches, but that's never seemed to effect its popularity.

I do really love the concept of the original poster, and the simple phrasing that drives home the clear message. For my redo, I wanted to keep the overall look and feel, and the simple, clear message, but changing it to match modern understandings of fire and its place in the cycle of life in forests. I set out with the following goals:

Show fire as a part of the natural cycle that helps keep landscapes healthy.

Make the horse less distressed looking.

Remove the gendered language from the messaging.

Keep as much of the original posing, composition, and colors as possible.

Showing the renewal cycle was the trickiest part, because the composition really didn't leave a lot of room to show the regrowth portion. I think I came up with a good balance, though, by having the forest very overgrown, dark, and unhealthy, then having the strong dividing diagonal/arrow of fire bringing light into that dark overgrowth, and the open, regrowing portion behind the smoke and flames. I also had the regrowth coming from the horse's hooves so that the horse is more of an active piece of the story, rather than being forced through the whole affair.

The regrowing plants in the background are fire poppies and fireweed, as well as a few distant aspen saplings, all of which are some of the first plants to come back after wildfires move through. Death also got a fire poppy as the clasp of their cloak.

For the phrasing, I came up with "Death Renews the Forest" almost immediately, but I had more trouble with the bottom portion. I wanted the phrase to not be gendered anymore, so switched it to "we." Initially I thought about something like "When we are educated in its use." But I wasn't a big fan of "use." While the poster does feature Death doing an intentional prescribed burn, I also wanted the phrasing to apply to letting naturally lightning caused fires burn. So less "use" and more embracing fire overall. This is especially true given that in the US we have, unfortunately, gone back to a full suppression strategy as of 2026 thanks to an executive order from the orange menace. So, despite decades of research showing how much harm that causes, we've been ordered to start doing it again. Which, to me, just makes this redo of the poster even more relevant right now.

Spider helped me puzzle out some other phrasing ideas, and I really liked this final one. I think it is balanced really well with the top portion of the text, and the overall message of the poster.

the bottom and side borders of the finished piece are tablet-woven with a mixture of linen and mercerized cotton. the sides are a classic meander motif, while the bottom border includes the "X" square from the skyphos itself. the bottom border was woven directly onto the piece using the remainder of the warp beneath penelope's feet (tablet draft for anyone interested—I designed it to be twist-neutral and everything). the side borders are sewn on because I didn't set up the side borders when I started the project, but ellen harlizius-klück previously executed a stunning version here that has the side borders woven in, as well as a really helpful video on this technique.

I was originally planning to leave part of the black warp threads unwoven to serve as penelope's warp, the way I did a few years ago with the amasis painter vase:

but I couldn't figure out how to execute it well in this version, especially since I was doing double-weave and not tapestry. perhaps next time! overall, this was a complicated and fun project as a first warp-weighted loom piece. I learned a lot of important lessons—chief among them being to actually calculate warp lengths instead of eyeballing them and to increase the loom weights on the warps for better tension. unfortunately, I also learned I want to build a large warp-weighted loom (the one I have now was made by jennifer marcus at fiber paintings studio and it is lovely, but I would like to weave larger pieces.)

the original pot also features telemachus standing over a grieving penelope (I had room only for his spear), perhaps a reference to the scene in book 1 when he reprimands his mother and orders her back upstairs:

Odysseus was not the only one who did not come back home again from Troy. Many were lost. Go in and do your work. Stick to the loom and distaff. Tell your slaves to do their chores as well. It is for men to talk, especially me. I am the master. οὐ γὰρ Ὀδυσσεὺς οἶος ἀπώλεσε νόστιμον ἦμαρ ἐν Τροίῃ, πολλοὶ δὲ καὶ ἄλλοι φῶτες ὄλοντο. ἀλλ᾽ εἰς οἶκον ἰοῦσα τὰ σ᾽ αὐτῆς ἔργα κόμιζε, ἱστόν τ᾽ ἠλακάτην τε, καὶ ἀμφιπόλοισι κέλευε ἔργον ἐποίχεσθαι: μῦθος δ᾽ ἄνδρεσσι μελήσει πᾶσι, μάλιστα δ᾽ ἐμοί: τοῦ γὰρ κράτος ἔστ᾽ ἐνὶ οἴκῳ.

Od. 1.354–359. Emily Wilson translation.