On the very edge of the Orange and San Diego County lines, where Avenida Del Presidente and Cristianitos Road meet, there is a trailhead that leads to one of the famous beaches in the world. I follow it, descending into a rich brush behind chain-link fences, the heavy smell of musky, wetland aroma overcomes my nose as the sounds of the San Diego Freeway drones on beside me. Down the familiar trail, I admire a piece of graffiti in white on the asphalt, “locals only” and a little further down, another in red, “no kooks”. More surf art is stickered, graffitied, and painted onto the pillars under the Interstate 5 and sign posts as I continue down the trail. Fences are replaced with dense wetland foliage that hide the sight, but not the smell or…show more content… There is a co-operation that occurs between the trail and the human activity that inscribes it, “projected into social ideas” influenced by the recreational and inherently cultural use of that area (1983 Williams, 224). To reference my recent experience, descended into the wilderness of San Onofre State Park, increasing my distance from signs of the ever-moving interstate and focusing my attention to the immediate nature surrounding me. To those who walk it regularly, there is a shared and intimate mood with not only the beach, but with the trail that leads them there. The trail itself institutes a “powerful effect on the character of the citizens” who interact with it (1983 Williams, 224). This is why the path to the beach is saturated with art on every surface that represents the transition from the city to the place of nature. “Trestleglyphs” as they referred, is a compilation of graffiti, paintings and surf-brand stickers incorporated into the Interstate supports, official trail postings, and on the asphalt at the beginning of the Trestles trailhead. There, the surf culture immediately claims this area as its own, warning “kooks” (inexperienced surfers) away and instituting a “local” and social attitude over
