Mining a vein of artistic talentFour artists have started an artist collective in the historic Silverton PowerhouseSILVERTON – Two musicians played on a small carpet that demarcated the stage from the mass of visitors clad in duct tape-patched jackets huddled around a wood stove – the lone source of any meaningful heat – at the Silverton Powerhouse Spring Fever Event in early March.Black and white photographs clung to the walls of the former industrial building, covering up decades of wear. When the Silverton power station was built in 1906, it was a critical piece of infrastructure responsible for the distribution of hydroelectric power that was farmed from the Animas River and relayed to a network of mines scattered among the peaks of the San Juan Mountains. And while the telltale circular holes in the brick facade through which high voltage lines once ran still remain, the building now enables the mining of something else: artistic talent. Four Silverton artists – Hannah Green, Hillary Cable, Anne Chase and Julian Hood – are what one could call the mining foremen of the Silverton Powerhouse, although they prefer the term “founding artists.”Over the last year, the team has worked to convert the former power station into a collective space for artists to work and host community events that incubate Silverton’s artistic talent. It is the building itself, Green says from her balcony studio overlooking the space’s expansive footprint, that propelled the Silverton Powerhouse into existence. “People walk in here and have 10 million ideas,” she said. The Silverton Historical Society put the building up for lease in November 2021. It had sat unused, filled with ski-making detritus, after ScottyBob Skiworks vacated the space several years earlier. Green took the initiative to gather Silverton’s artistic community and gauge what interest there might be in converting the space into an artist collective. Cable, Chase and Hood were willing to commit to the project, and in February 2022, the group signed a lease. The artists range in age from 23 to 36. “Last year was a lot learning, just figuring out what we really wanted this space to be and how we wanted it to work,” Green said. Since signing the lease, the four artists have begun to make the space their own and open it up for community events.Many of the Powerhouse’s facilities are still under construction and meet only the minimum needs of the founding artists. The temperature in the poorly insulated building hovers below 50 degrees winter days, making it difficult for the artists to justify renting space to others. But having studio space has enabled – and in some cases required – the four to expand their artistic endeavors. They come and go as they please, although most of them are limited by the constraints of having at least one full-time job.Hood works in the uppermost balcony of the building, where he runs his brand, Notorious Blair Street Tees. His multi-armed screen printing press occupies much of the space, which he says is a step up from the basement of The Avon hotel. “It feels like I'm starting to be an actual business,” Hood said. “It feels legitimate.”A floor below him, Chase sits in front of an easel perched at the edge of the building’s second tier. She recently quit her day job in favor of artistic career. Chase makes landscape art across a broad range of formats, transcending the constraints of any single defined lane. “I have stained all of my kitchen counters and my dining room table with paint,” she said. “I have room for all of my prints and storage and paints. It has been huge.”Directly below her, Cable has a small enclosed studio where she is working on an epoxy backsplash for her brother’s kitchen. “I can't do the project that I'm working on right now without that space,” she said.She used to work in a section of her bedroom, cordoned off by sheets of plastic hung from the ceiling. She said the studio space has financial impacts that extend in both directions; it allows her to do more work while simultaneously necessitating that she produce more in order to cover her portion of rent. Of course, the profits from Cable’s ski-pole plunger business supplement her income. The four entrepreneurs say they are envisioning the future through two different lenses. One lens is focused one step ahead, on the Powerhouse’s immediate needs. In the other lens, the artists are looking at how their collective will fit into Silverton’s community. The Powerhouse’s facilities currently include a photography dark room and a bare-bones music studio. The darkroom, sequestered under a stairway, darkened by hanging curtains, is ripe for improvement, Hood says.The Powerhouse artists launched a Kickstarter campaign earlier this month to address some of the building’s immediate needs. The campaign, which ends April 2, has raised over $12,000 of the $19,500 goal.First up, Chase said, is heating. “We need to make the space usable year-round in order for it to be a viable business,” she said. “The four of us are pretty hearty and work in a 49-degree building. But I sometimes can't work when it's this cold because of my paint. So we need to make the building warmer.”The founders have emptied their own bank accounts into the Powerhouse and are now soliciting community support because they say the vision of what the space can be, and already is, has been widely backed by the Silverton community. “The whole community loves how beautiful this building is,” Cable said. “It's been really special to be able to share that with them and invite people out here and just enjoy the space with other people from the community.”Already, the Powerhouse has hosted the Silverton Whiteout Fat Bike Race, bonfires, birthday parties and art shows. On April 1, the artists will host a silent auction to benefit their Kickstarter campaign. Once the place can retain some heat, the founding artists say they want to create new studio spaces for up to three more makers, enhance the building for hosting events and turn it into a resource for Silverton’s broader community. They have even talked with Silverton School about opening the space up to kids. Using Durango’s Smiley Building as inspiration, the group is looking to foster a buzzing hub of artistic activity. “It's so important to have a community space in such a small town,” Chase said. “The winters here are really isolating. And (know) so many artists who all work alone, who really value the idea of working together.”rschafir@durangoherald.com
Four artists have started an artist collective in the historic Silverton Powerhouse
Hop aboard for a ride on the snowplowing ‘flanger’ trainDurango & Silverton Narrow Gauge Railroad runs a special trip to clear tracks after heavy snowfallThe temperature hovers above zero as the Durango & Silverton Narrow Gauge Railroad crew tasked with clearing snow away from the tracks readies for departure. A blue enameled coffeepot heats atop the coal-fired caboose stove, where crew members pause to warm themselves in its glow as they move in and out of the caboose – the fog of their breath illuminated by their battery-powered lanterns.The scent of cowboy coffee and coal-fire mingle with grease and the varnish of history as the air warms inside the caboose – built in 1881 and rebuilt to add length in Alamosa in 1930. Outside, unshakable icicles hang from the car’s roof and drip from the window awnings like frozen frosting.With a tug from his gloved hand, engineer Nick Breeden releases a few short blasts from locomotive 481’s steam whistle before engaging the drivers of the iron horse built by Baldwin Locomotive Works in Philadelphia in 1925. Six a.m. – time to go – destination Cascade Canyon.The crew is working ahead of the morning passenger train, referred to by the railroaders as a “revenue train,” to push snow from the recent storm away from the tracks. It’s a small work crew with one key piece of machinery, a flanger car designed for just such a task. The couplers between cars clap tight as the locomotive pulls out the slack and the steel wheels begin to roll. The crew in the caboose settle into silence. Conductor Sean Frederick sits at a small desk where the only nod to modernity is the CB radio affixed to the paneled wall. Brakeman Sam Burbey and Trainmaster Joe Daily ease back on the padded side-facing bench seats. The two flanger (snowplow) operators, Daniel Frauenhoff and Christopher Tucson, are perched on opposite sides of the car’s elevated cupola, with its 360-degree view.Only the bellow of the steam whistle and the crossing bells at intersections shatter the predawn peace as the abbreviated train – locomotive and tender, flanger car with its hydraulic snow-pushing wings, and the caboose – rumble through downtown Durango and across the trestle bridge that spans the Animas River, where the commotion causes deer to bolt from their riverside browse.A fingernail of a moon pinned above the mesa glows brighter with the first hint of light in the cloudless sky. The train climbs just enough to reveal an ephemeral fog nestled in the hardwoods beside the serpentine twists of the Animus before it drops into the flats of the upper valley.“It’s shaping up to be a good day,” Daily says. It is mid-February and the second call-to-duty for the flanger car to “widen the path” after a heavy snow this winter. Another train without a flanger pushed the snow off the track the day before. The first trip of the season for the flanger was “epic” with 3 feet of snow on the tracks, Daily says.Old technology that still worksThe first flanger in the West was developed in 1885, according to History Colorado, and was a “leap forward for snow removal” but it still depends on a locomotive snowplow to clear the bulk of the snow in front of the train. The flanger being used by the D&SNG was also built in 1885, then rebuilt in Alamosa in 1930, and finally had air cylinders added in 1985 so it could be controlled by operators in the caboose, Daily says. The flanger operators move the “wings” in and out while the locomotive engineer controls the vertical positioning to account for gradient, switches and crossings.“I love the railroad and all the equipment we run, but as far as the flanger – just how old the technology and how well it still works,” Daily says.Twenty-nine-year-old flanger operator Frauenhoff, who hails from just south of Littleton, summed up operating the “wing valve” that moves the turn-of-the-last-century wings, in modern terms.“It kind of feels like an old video game, pulling those handles,” he said.His flanger-operating partner, 35-year-old Durango native Tucson, said if they get anymore big storms this year they’re not going to have anywhere to put the snow. Tucson described the challenges and limits of operating the flanger.“You just have to really pay attention to what’s ahead of you and know when you bring your wings in they’re going to react slow sometimes,” he said. “And the wings actually, when you push them all the way out, will lock, but in all those rocks you want to have it bent and then if it hits anything, the wing will come in automatically.“And there is a lot of close clearance, especially on the highline,” Tucson said. “If you have your window too far open, you can catch a tree branch and break a window.”Flanger operators spend most their time with heads out the windows, which open outward to create a wind screen as they watch the position of their wing in relation to approaching obstacles.Breeden gives the locomotive a full head of steam across the flat valley, where it reaches its top speed along the route of 20 mph, before the climb into the cliffside cut that winds into the Rockies steep-and-deep San Juan Mountains. Fifteen mph is the overall average speed the train travels but there are places where it slows to 5 mph, Daily says.The flanger train is clearing the tracks only as far as Cascade Canyon, a 26½-mile, two-hour round-trip with no stops, to allow for the passage of a winter “revenue” passenger train. But the summer run from Durango to Silverton is a 45.4-mile trip with an elevation gain of 2,796 feet. The grade along the route undulates a lot, Daily says, with the steepest section reaching a 4% gradient about 8 miles south of Silverton.The railroad no longer uses a coal-powered train for the run to Silverton, but when it did, it burned 4 to 5 tons of coal for a round-trip. And it used the better part of its 5,000-gallon-capacity tank of water, which shares space on the tender with the coal, by the time it reached Tank Creek just shy of Cascade Canyon.D&SNG started the process to transition from coal-powered locomotives to oil-burning late in 2018 or early 2019, Daily said, and the first oil-burning locomotive came out in January 2020. The railroad has been slowly converting the fleet since. The locomotive leading the way today is the last of the railroad’s coal-burners. The oil-burners go through 800 to 1,000 gallons of crankcase (basically used motor oil) on a run to Silverton and back.Keeping the tracks clear of snow before it builds up is a timely affair, Daily says.“If you have a lot of snow – if you have a big storm – you want to start before it’s over,” Daily says. “Or at least as soon as it’s over.If a passenger train attempted to push through track covered in deeper snow, the weight of the train vs the resistance of the snow would be too much for the locomotive and there would be the danger of not knowing what was hidden beneath the snow.“Another challenge, if there’s a lot of snow on the tracks, is rocks,” Daily says. “We get a lot of rocks that come down and it would be a big problem if the train hit them. You have to be really careful about that,” he says.Part of the reason the railroad does not operate all the way to Silverton in winter is because the track passes under several dangerous avalanche chutes. But between Durango and Cascade Canyon there is only one small slide the tracks go under and it is not significant enough to cause real danger.The locomotive slows as it wends its way up and up until the tracks wedge themselves between a towering cliff on one side and a sheer drop to the Animas River far below on the other. This is where the flanger operators earn their keep, as they jockey the wings in-and-out to avoid hitting rock outcroppings, trees, all but invisible boulders under the blanket of snow beside the tracks, and narrow rock-walled cuts that the fully retracted wings miss by inches. The little train steams on to Rockwood and a brief stop, where 19-year-old brakeman Burbey collects another bucket of coal for the caboose stove, before continuing on to stop at Tank Creek. Fireman Russell Heerdt, 24, who has been in the locomotive shoveling coal into the firebox during the trip to give Breeden, 27, the steam he needs, climbs atop the tender and lowers the spout from the trackside water tank to refill the tender. It’s not long before Breeden has the locomotive rollicking up the tracks into the big mountains whose peaks are just now glowing orange with the rising sun. Heerdt moves in one easy motion as he scoops coal with a shovel then turns and steps on the pedal that opens the firebox’s furnace door and stokes what’s called the ring of fire. Breeden operates the levers that drive the train, and adjusts the elevation of the flanger wings with his left hand, while his head and right hand spend most their time out the window. “It’s muscle memory,” Breeden says as his left hand moves deftly between the brass- and silver-handled levers. “This one (his right hand) just sits over here and gets cold.” The train has a full head of steam as the locomotive “chuffs” its way toward deeper snow when word comes from the caboose to stop and turn around. Breeden, from Maryville Tennessee, who looks as bygone-era authentic as the locomotive he drives, releases an oath that leaves no doubt he’d like to keep going. “Well, we got the cool part, seeing that sun come up was pretty neat,” Heerdt says to Breeden. The trip back to the barn is uneventful if you don’t count the most majestic scenery in the West. Given a bit of free time, some of the crew share what brought them to work on what is one of the most heralded trains in the country. Brakeman Burbey, who has worked on the railroad for a year, got tired of the view from between his horse’s ears, he said. “Before this I was a horse packer,” he said. “I did that for about 10 years. This is a good job and I get to sleep in my own bed every night.” Conductor Frederick, 23, hails from Pittsburgh and went to work on the railroad more than four years ago after attending Fort Lewis College, where he competed on the school’s mountain bike team. “I love coming up the canyon, being outside and seeing this every day,” he said. Fireman Heerdt, who is also an engineer, grew up in southeast Iowa and used to visit the railroad and Durango with his grandfather. His favorite part of the job is sharing the history with people. “We maintain a way of life that no one has done regularly since the ’40s, and it’s good to share that with people.” Trainmaster Daily, 43, grew up near a railroad track in Maryland, and when he was young his dad took him to a tourist railroad that had steam locomotives and he got hooked, he said. He started working for them when he was a teenager. And then one day he got the bug that’s as old as the tale of the West. “I was 23 and I knew about this railroad and I kind of just wanted to see what was on the other side of the mountain,” he said. gjaros@durangoherald.com
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