Echoes of Existence-how to engage the students

I am slowly working to find solutions to the problems that will arise when the students implement the installation.

First, how to get students that are not comfortable with nature to want tobe involved. What will draw them in?

Second, a big problem is how to control a group of college kids in a field and have them complete a detailed installation.

Bloomington is a walking city. Every day as I would walk about town and the campus I worried about how I was going to solve these two problem. And like on most college campuses everyone is in their own audio visual world contained between the ear pieces of a headset. And I was the same. The difference was I still wanted to connect to those passing by me with a “good morning” or hi. I found the IU students were very focused on the sounds in their headsets they did not need to make eye contact or say hello.

In a discussion with an English professor, Shannon Gayk, who also teaches a walking class, I learned that a novel idea for students is silent walking. The idea of walking without a headset without sound — silent.

Thinking of headsets and silent - my mind went straight to silent raves then to a silent installation.

Would the concept of a silent installation draw the students in. Could this commitment to headsets be a possible tool for crowd control during the installation?

I love the idea. But that leads to another hurdle. How do I design a silent installation? What technology makes this possible?

With a quick Google search, I found several companies that provide everything you need for a silent event.

A Turn of Events: My Dream Installation on hold.

This summer, I was presented with an incredible opportunity. A curator asked me to propose my dream installation, a chance to showcase something meaningful. The site owner was willing to support and fund the work.

After much contemplation, I decided on a proposal that filled me with passion and urgency. However, last week, it all came to a halt.

I am sincerely grateful for the curator’s interest in my work and the site owner’s support. Their initial inquiry inspired this proposal, and I cannot thank them enough for that. I believe that everything happens for a reason, I have an idea and I am hopeful that I will find the project a site and funding.

First a little background. While at Indiana University, I became aware that integrating ecological recovery with natural systems is a new academic direction and numerous educational institutions are interested in this area. After all, universities and school systems are the largest landowners in any city and having research students involved would be a great asset. Transforming the proposed installation into an art/environmental science installation would significantly enhance the social sculpture’s reach and benefit a university and society.

Below is my proposal.

Introduction-

Global warming, food security, drought/flooding, wildlife habitats, economic instability, and health – these problems are not new to humankind. The archeology of ancient civilizations has recorded connections between the longevity of civilizations and the health of their soil. The United Nations reported in 2014 that the world's topsoil would only last 60 more growing seasons. Soil scientists around the globe agree that solutions to these issues are rooted in our treatment of soil—the skin that covers our planet. 

In a moment of global uncertainty, I ask myself, what materials and forms would I use to create the greatest impact on society and the environment? As I think of ancient civilizations' architecture, art, and spiritual practices, pillars and vessels played an important role in shaping their understanding of the world. Much of my previous work has been about conservation issues, looking specifically at Earth’s natural systems of bees, at waterways, at bison, at native plants, at recovery from Hurricane Harvey, and now at the underground systems of Earth. And so, I would use roots as my material and pillars as my vessel.

standingGROUND

In standingGROUND, I propose a four-stage installation of 5’-10’ tall pillars of various shapes grown from the roots of long-rooted prairie plants.

These pillars will be created by stacking various shapes of clay vessels commonly purchased from home and garden stores. The vessels with the bottoms removed will be stacked and centered on a steel pole cemented in the earth with a small footing for stability. The pots will be filled with a leaf-mold compost and seeded with native grasses and plants known for their root depth. They are to be nurtured and watered for approximately twelve months or until the plants are rootbound in the clay pillars. The clay will then be delicately broken away and the above-ground plant material removed, leaving freestanding pillars of delicately intertwined roots bound in the shapes of the stacked vessels. The root pillars will stand erect on the hidden steel posts.

Drawing inspiration from the rhizomatic root structures of native grasses that give structure to Earht’s underground life, these sculptures, woven by natural systems, standing above ground, will bridge the gap between sky, earth, water, and modern humanity. These pillars offer a glimpse into the intricate workings of an underground prairie ecosystem, the upside-down rainforest for carbon sequestration of North America.

Four Stages

The first phase of standingGROUND will focus on the sculptural aesthetics of the work. I will carefully build the pillars composed of ready-mades to be strong sculptural elements on their own. Once a site is selected, I will choose a paint color that harmonizes with the surroundings and emphasizes the sculptural qualities of the pillars. Lighting will play a crucial role in showcasing the sculptures in relation to their environment. I will paint the pots before the installation, touch them up, and paint the joints afterward. Information on the site will discuss the ecological and social aspects not yet revealed.

The second phase will be to install the pillars into an immersive experience. The towering yet human-like pillars will be positioned strategically to create an intimate and inviting space for viewers. Within this space, a stone or stump will be placed as a reflective seat, provoking thoughts on how our actions impact climate and biodiversity and how humanity can find harmony within natural systems.

The third phase of standingGROUND is when I physically chisel the ceramic vessels away to reveal the social sculpture aspect, the delicate white lace-like intertwined roots bound in the shapes of the stacked ready-mades bridging the gap between sky, earth, water, and humanity.

The fourth phase encapsulates the cycle of life, decay, and regeneration. This crucial phase is essential for ensuring life on Earth. The root sculptures will gradually erode and disintegrate when exposed to the elements. Once the installation has reached the end of its visual lifespan, I will carefully remove the root sculptures. The poles and footings will be relocated from the site. This stripping away of the remnants will leave behind a cavity in the ground previously occupied by the footings. Remarkably, this void will serve as a space where the roots can be placed to rest-regenerate and give birth to new life.

I started experimenting with the shapes in their root form last week. I initially created six sketches in the form of watercolor monotypes. Then, I researched more pot shapes with larger mouths and created four more in round 2. The images of these sketches are below. I will continue experimenting with these shapes as I work on a site.

standingGROUND II

Watercolor monotype

30” X22”

StandingGROUND VI

Watercolor monotype

30” X22”

standingGROUND round 2 #1

Watercolor monotype

30” X22”

standingGROUND IV

Watercolor monotype

30” X22”

StandingGROUND round 2 #4

Watercolor monotype

30” X22”

StandingGROUND round 2 #3

Watercolor monotype

30” X22”

StandingGROUND round 2 #2

Watercolor monotype

30” X22”

standingGROUND V

Watercolor monotype

30” X22”

standingGROUND III

Watercolor monotype

30” X22”

standingGROUND I

Watercolor monotype

30” X22”

To Leave

The ephemeral beauty of nature lies not just in living organisms but also in their inevitable decay.

This morning, while examining “deeper than that” a private living sculpture art installation featuring indigenous plants, I was struck by the fading loveliness of the Rosinweed leaves as they withered. Contemplating the homophones “leaf”, “leave” and “leaves”, I pondered how societies historically understood the ecological value of allowing foliage to persist even after senescence. Is that why we call these objects a verb?

Leaves that have left a plant continue to nourish the soil and its microbial inhabitants even in death. Their decaying forms hold moisture, shade the living organisms in the ground, and provide nutrients as they return to earth, building a balanced ecology that sustains urban landscapes. They are an important material natures uses in its engineering of the water table.

Though a single leaf may seem a small, ephemeral thing, in aggregate and over time, the leaves left behind establish and uphold the very foundations of life.

Their decay is not an end but rather a beginning - a quiet, essential recycling of energy and matter that allows new growth to emerge.

In both the noun and the verb there are layers of beauty, and layers of ecological purpose, in the leaves left to molder where they fall. An ecosystem thrives on this gift of decay, using the ephemeral to fuel the eternal. Such is the profound, poignant cycle that the installation’s Rosinweed specimens, even as they bend and brown, help perpetuate. Out of seeming loss, abundance; out of death, life.

Leave your leaves and be grateful for their beauty as nouns and as verbs.

IU - The labyrinth design - How will it be installed?

Once the grid is installed, the next step is to think about how to divide the work so that groups of student and volunteers can install my vision. .

Two options seem viable. The first idea is by marking the (X, Y) coordinates for each circuit of planting on individual pages. The other idea is by verticle rows.

Below I have marked the coordinates of the circuits. As I mark the coordinates I am not sure this is the way. I may need to break it down to smaller sections.

I can continue to consider how to breakdown the jobs as I begin building the grid.

Golden-reined Digger Wasp - fascinating and gentle despite its sinister appearance.

This is one interesting creature, so interesting I pasted the article below.

Despite its vivid alarm coloration, the Great Golden Digger Wasp is not an aggressive species of wasp. They tend to mind their own business and can be found sipping on flower nectar during the summer, but in the early spring, females prepare to lay eggs.

Females will dig into loose soil and create many deep tunnels. When established, she then covers them to hide their existence. A female will track a small insect and sting them to paralyze them, but not to kill them. Once the prey is immobile, she will clutch it using her antennae and mandible (mouth parts) in order to fly it back to the tunnels. While in flight with her prey, it is not uncommon to see birds like robins or tanagers attempt to steal her meal from her by chasing her until she drops it. No other known species of Digger Wasp is known to be harassed by birds in this way. If the female is successful in returning to her tunnels with her catch, she will place the paralyzed prey aside to quickly inspect a tunnel. If it looks like it's still intact, she will pull the paralyzed insect, head first, down into it. She then lays an egg on the insect, exits the tunnel, and covers it over again. She repeats this process for each tunnel. Unlike other wasps, she does not actively defend her nest. Once hatched, the wasp larvae will feed on the living, yet immobile, insect until they are developed enough to leave the tunnel lair in the summer. Eventually, the parasitism of the paralyzed insect kills it.

Scientists are studying the behavior of this unique species. Great Golden Digger Wasps seem to display a type of internal programming. If their insect prey is moved away from the tunnel while the female inspects it, she will emerge, relocate it, bring it back to the tunnel entrance and start the inspection all over again. Every female exhibited the same repetitive 'start inspection again' behavior when tested in that way.

Females have also shown that they do not keep a tally of how many insects they catch versus how many tunnels they create. If some meals are stolen by birds, they do not realize that they are short on insects compared to tunnels.

With such gorgeous orange and black coloration, mild demeanor, and interesting behaviors, the Great Golden Digger Wasp is one to admire, not destroy. Perhaps a careful observer will discover even more fascinating things about this species.

Symbiosis Relationship 9/2022

Skipper and Pokeweed

Endangered bumble bee and Salvia

Coral honeysuckle and a native bee.

Mocking bird using an American Westeria vine as a lookout for insects to eatt.

Passiflora incarnate and carpenter bee.

Turkey tail mushrooms breakdown rotting trees recycling the nutrients.

Jumping spider

Pachodynerus erynnis, known generally as the red-marked pachodynerus or red and black mason wasp and Lantana camera. Lantanas are complex, I am not certain if this is a native to tropical US or an import. I think it is camara since I see beetles and wasps on it.

Clouded skipper on Lantana camara.

Common green June beetle and lantana camara.

Genus Pyrisitia minisa Yellow butterfly

Golden-reined Digger Wasp

Despite its vivid alarm coloration, the Great Golden Digger Wasp is not an aggressive species of wasp. They tend to mind their own business and can be found sipping on flower nectar during the summer, but in the early spring, females prepare to lay eggs.

Females will dig into loose soil and create many deep tunnels. When established, she then covers them to hide their existence. A female will track a small insect and sting them to paralyze them, but not to kill them. Once the prey is immobile, she will clutch it using her antennae and mandible (mouth parts) in order to fly it back to the tunnels. While in flight with her prey, it is not uncommon to see birds like robins or tanagers attempt to steal her meal from her by chasing her until she drops it. No other known species of Digger Wasp is known to be harassed by birds in this way. If the female is successful in returning to her tunnels with her catch, she will place the paralyzed prey aside to quickly inspect a tunnel. If it looks like it's still intact, she will pull the paralyzed insect, head first, down into it. She then lays an egg on the insect, exits the tunnel, and covers it over again. She repeats this process for each tunnel. Unlike other wasps, she does not actively defend her nest. Once hatched, the wasp larvae will feed on the living, yet immobile, insect until they are developed enough to leave the tunnel lair in the summer. Eventually, the parasitism of the paralyzed insect kills it.

Scientists are studying the behavior of this unique species. Great Golden Digger Wasps seem to display a type of internal programming. If their insect prey is moved away from the tunnel while the female inspects it, she will emerge, relocate it, bring it back to the tunnel entrance and start the inspection all over again. Every female exhibited the same repetitive 'start inspection again' behavior when tested in that way.

Females have also shown that they do not keep a tally of how many insects they catch versus how many tunnels they create. If some meals are stolen by birds, they do not realize that they are short on insects compared to tunnels.

With such gorgeous orange and black coloration, mild demeanor, and interesting behaviors, the Great Golden Digger Wasp is one to admire, not destroy. Perhaps a careful observer will discover even more fascinating things about this species.

Symbiosis Celebration — Social Sculpture

Symbiosis Celebration

Social Sculpture

Proposal

 

By

Cindee Travis Klement

Proposed to Mayor’s Office of Cultural Affairs June 8, 2022


Fall color tourism contributes $1 billion per year to North Carolina. Houston has Fall color migration,

we can cultivate it into tourism and build soil health. 



—from Chemical Plants to Native Plants—

Native Wildflowers, Food, Art and Music Festival

 

 

“If you dig deep and keep peeling the onion, artists and freelance writers are the leaders in society - the people who start to get new ideas out.” — Allan Savory 

 

In April 2021, I installed the first native plants into Lawndale's sculpture garden. Within two months, Symbiosis exploded with bountiful native blooms. Plants expected by the Ladybird Wildflower website to be one to three feet tall in Symbiosis were instead two to four feet tall. In June, the endangered native bees started returning. In the first twelve months, I have witnessed seventy new species in the space: from bird nest fungus to Red Admirals, Monarchs and skippers, skimmers, one of the bumblebees listed as endangered, Bombus pensylvanicus, treefrogs, toads and birds.

 

Since Hurricane Harvey, harnessing the power of public opinion to mutualistically build Houston's landscapes into healthy ecosystems has been the focus of my art practice.

 

In our web meeting, I explained that in my artwork, Symbiosis, sponsored by the City's Initiative Grant at the Lawndale Art Center, I integrate holistic, regenerative biological systems into an urban landscape. I was inspired to create Symbiosis because I have read that our cities are fast-forwarding evolution. If this is true, integrating holistic, regenerative biological systems into urban landscapes will fast-forward ecological recovery. In Symbiosis, I use systems thinking to find a balance between humanity and Houston's wildlife; already, since the installation began in 2021, we are seeing a return of the lower food chain, which is critical for supporting birds and other wildlife that control the insects harmful to humans.

 

In the systems thinking state of mind, I also realize that profit is the fuel that will change society's landscape practices to embrace the planet's ecological systems in Houston. Applying economics and industrial concepts to the work, I propose that ecotourism is an untapped resource that can strengthen our environmental and economic health. I am writing to you with a proposal to start a wildflower festival, a Symbiosis Celebration, that ultimately encourages and celebrates new mutualistic relationships between Houstonians and the planet. Through fostering symbiotic relationships that regenerate Houston's micro-ecosystems, we will move our reputation from Chemical Plants to Native Plants — we can prosper as the Green Energy City.

STIMULUS

18” X 4.5” X 10”

$1500 in large bills and passed butterflies.

 

Building Mutual Symbiotic Relationships to Power Ecological Recovery

I envision this festival cultivating relationships among the City of Houston, local property owners, Houston's indigenous landscape and its wildlife, soil and climate, food, restaurant, music, visual and performing arts, museums and professional sports team communities.

 

 The following steps will contribute to building these relationships:

·      The business and private property owners will need to redirect their existing landscape budgets to native plants that support our wildlife.

·      These new landscape practice guidelines will align with the Mayor's Office of Sustainability and Resilience.

·      New native wildflower and grass landscapes will slow rainwater, allowing it to soak in and return to the aquifer to cool the planet while sequestering carbon and storing it in the ground where it is stable, providing food and safe habitats for our indigenous wildlife.

·      The approximately six hundred species of birds, four hundred and thirty species of butterflies, eight hundred species of Texas native bees, one thousand species of moths, eighteen species of dragonflies, thirty species of turtles, including two box turtles, and seventy-two species of amphibians native to Texas will expand their populations in our city.

·      Houston's creatives in the food, restaurant, music, visual and performing arts, museums and professional sports industries will respond to the new mutualistic/symbiotic relationships among Houston's landowners and our unique plant and wildlife in exciting creative ways and performances during the festival.

·      The City of Houston will promote, market, and support the above-described new relationships with its services infrastructure, completing the mutualistic relationship that will support Houston's economy and ecosystems.

 

Why Houston Can Support Ecotourism

Although Symbiosis taught me the speed with which an urban landscape can transform into a wildlife haven, it was not until I was in Fredericksburg that I realized Houston's ecology is an untapped tourist economy. When you combine Houston's rich soil, high humidity, heat and long growing seasons with the indigenous native plant landscapes supported by Houston's urban irrigated commercial and park landscapes, Houston's native plant wildflower and wildlife tourism can far exceed those of the small towns in Central Texas. Another tremendous asset is Houston's central geographic location in the bird and butterfly migration paths between the North and South American continents and our proximity to the Gulf Coast. Texas has the most butterfly species of any state in the U.S. Houston's inner city is 600 square miles; our "sprawl" is an asset to urban ecotourism.

 

As additional support that Houston can be an ecotourism powerhouse, I have read that one of New York City's most popular tourist attractions is The High Line's native landscaping. In North Texas, Plano also uses wildflowers and music to attract tourism dollars.

 

Funding

I see businesses and organizations all over the city which are starting to take advantage of the ecological benefits of native landscapes. Unfortunately, many other property (business and home) owners are unaware of the economic and environmental benefits of native plant landscaping. They spend $50-$100 per hour for weekly maintenance and $4—$12 per square foot for seasonal plantings, while also incurring high water usage and bills. Suppose the City appeals to these businesses and individuals to convert their existing non-ecological landscape budgets to native wildflower and grass landscapes. In that case, the City can promote a native plant/wildflower and wildlife, food, arts and music festival that will symbiotically support native ecological systems. The supporting businesses can profit from the tourism they generate.

 

When

With Houston projected to double in size by 2050, if we start now, benefits will compound. The timing of the festival should fall during one of the migration periods.

 

The Texas Can-Do Spirit

Systems thinking to mitigate climate through industry and the arts is a new territory — will Houstonians embrace this new field of thinking? In Texas, that depends on how you ask and present the need. In our recent history, from Katrina to hurricane Harvey, unsolicited Houstonians volunteered to help their neighbors. In 1901, wildcatters discovered Spindletop, drawing people worldwide to build a better life in unknown territory. “Wildcatter” is used to describe one that drills wells in areas not known to be producing fields. The spirit of the wildcatter is deep in our Texas Can-Do Spirit. It is in our nature to embrace a new field of wild.

 

The Next Step

Recently I went to a free event at the Ion; the people giving the talk are in the business of researching the economics to support new business ideas. They also create "stacks" or PowerPoint presentations to gain financial support for new ideas. Their fee is $6,000. Unfortunately, it is beyond my budget.

Is this sort of analysis provided by the Mayor’s Office of Cultural Affairs or another City of Houston office to determine the new cultural or social events that would benefit our city?

 

The support of the Mayor’s Office of Cultural Affairs is critical for social sculpture to transform the city from Chemical Plants to Native plants and earn the title of The Green Energy City.

The white pedestal?

When I started in the MFAH Glassell School block program, I needed pedestals for my smaller sculptures. I made stark white cubes as I saw in museums and galleries.

Over the years, my work has transitioned to tell a specific story. I make work to reveal the beauty in diversity, the messiness in the natural world and the connections between all living things on the planet. And most importantly, I work to inspire society to step into a rhythm that will flow with the natural world and celebrate the beauty in its messiness. My work conflicts with borders that separate, clean lines that divide and sterile objects.

The white cube pedestals are a symptom of sameness, monocultures and sterile environments, a symptom of me wanting to ” look “ like I belong and fit in. A change is an imminent.

I am leting my eyes and mind play with how objects that physically support my work should look. Work that reimagines urban landscapes to balance humanity and natural systems should not be sterile cubes. What should, - what could they be?

The images below are some thoughts I am considering. .

Rocks

Bricks

Stones or concrete.

Cracks

Dried plant material

Electrical wire

Upcycled lawn furniture.

Palm tree trunk skin

Salvaged construction site rotting root with interesting chain link necklace imbedded across her shoulders.

Symbiosis - The first anniversary and a feisty or rebellious future.

What would the next twelve months look like?

A two-year-old can be feisty, or would it be more like a rebellious teenager coming into its sexuality?

April of 2021, I started installing the plant material in “Symbiosis.” Seeing, hearing and smelling the transformation has been a gift. This past spring marked the first anniversary. This post celebrates the relationships and natural systems I have documented from the first anniversary through mid-August.

Keep in mind that in the summer of 2020, when I agreed to install a site specific living sculpture, I went every day to observe the space. Sitting and looking — observational research is a big part of my work.

How did it function in the ecosystem? The mowed nonnative zoysia turf grass was neat within its “borders.” The nonnative shrubs and plants were in aligned rows amongst compressed dirt and it was static. As the summer days warmed the bare spaces, the rising heat never created any movement in the garden. It was designed in rows and easy to maintain with gas-powered mowers and edgers. The first soil test revealed that the garden was void of life. The lower food chain of earthworms and grubs was absent. That explained why the birds flew by without landing. There was nothing for them to forage or seek shelter from predators.  It did not soak up much water and sequestered little carbon. Lawndale’s Sculpture Garden was a dysfunctional plot of earth. It was green but not part of the coastal prairie ecosystem.

In a sea of Midtown asphalt and groomed properties in April of 2021, I questioned; would any wildlife find the small space? Failure was possible.

Nature was undeniably resilient in year one. Symbiosis was a living sculpture, a functioning part of the coastal prairie and the New World. The installation was not land art; it was a living ecosystem. It regenerated life.

 

On Mother’s day after the first big rain, the pond was full of white green treefrog eggs. The relationship between amphibians and clean water and important in building the lower food chain and keeping it in balance. for more details see the post Symbiosis — Green Treefrog Eggs.

Cricotopus rests on the Lawndale Art Centers building. This image is symbolic of a nonprofit art institution’s commitment to it's relationship with the natural world. Hopefully it will inspire others.

Large carpenter bee on a trumpet vine bloom.

Mutation of a rudbeckia hirta. A reminder that being different is beautiful.

the chemical free trough pond provides a habitat for toads to mate and leave their eggs. The tadpoles in return eat algae keeping the water clear and mosquito larvae. #social sculpture.

White-striped longtail enjoying a Rudebeckia hirta bloom.

Anole asserts his dominance on the trunk of a dead olive tree.

Ischnura hastata Citrine forktail on a frogfrut leaf.

Blue dock beetle enjoying the nutrition of a volunteer plant.

Spilosoma Virginia on a Rosinweed sunflower leaf.

Cricotopus Non biting midge on Rosinweed leaf.

Hippodamia convergens convergent lady beetle, on a volunteer plant.

unknown - But interesting

Celithemis fasciata and frogfruit.

Native bee _________ and Rosinseed sunflower.

Repipta taurus , Red bull assassin bug and painted blanket leaf.

Dolba hyloeus pawpaw sphinx and fall bedient plant

the perfect match a native carpenter bee’s body has evolved over the ages to fit the Passiflora incarnata perfectly.

Skipper on a dried volunteer plant.

Libellulidae- skimmer and docks. I often find skimmers perched on this past dried docks. They have a strong bond.

Mockingbirds and toads.

Mother Mockingbird feeding juvenile a tiny toad.

Juvenile Mockingbird perched on the manmade fence.

great blue skimmer (is a dragonfly) and the spent thimble flower.

2 Leafcutter bees mating.

2 Leafcutter bees mating and a spent painted blanket bloom.

Atalopedes campestris (called sachem in the United States and Canada) is a small grass skipper butterfly and frog fruit.

Another view

Hemiargus_ceraunus and frogdruit.

Umbrella paper wasp and spent sunflower.

Paper wasp and passion flower. PLANTS CALL WASPS TO THE RESCUE WITH AN AROMA THE INSECTS LOVE. This is a special relationship.

More (green eyed) leaf cutter bees mating again on spent painted blanket bloom.

Male Eastern Carpenter bee- check out those big green eyes and fall obedient plant.

Sphex Digger wasp. On passiflora incarnata

Obscure Bird Grasshopper shaded by the leaves of Turks cap.

Palpada vinetorum is a species of syrphid fly in the family Syrphidae.[1][2][3][4] It is a native flower fly species to North America, mainly found in Texas and parts of the east coast and fall obedient plant.

A pipevine swallowtail or Blue swallowtail laying eggs on a dried leaf of a red salvia. .

Battus philenor, the pipevine swallowtail or blue swallowtail and a morning glory vine.

Gulf fritillery butterfly and a passiflora incarnate

Dolba hyloeus (pawpaw sphinx) is a moth of the family Sphingidae and a fall obedient bloom.

Follow up post coming soon

Female common Whitetail skipper and a dried stem of a Rosin weed sunflower.

Leafcutter native bee and frogfruit.

Spiderweb that and dew . Does the quenching dew lure prey into the spiders web. I see a relationship between the spider and Earth’s closed water system.

Eastern carpenter bee and a rotting tree.

Eastern carpenter bee building a nest in a rotting wood.

Leafcutter bee and blanket flower.

Leafcutter bee with a petal of a blanket flower Gaillardia pulchella. They use the petals to build their nests.

American toad And Earth’s closed water system.

American toad out for a stroll during the rain.

Plushback fly and Salvia azure.

Another species of leadcutter bee cutting a bllanket flowr petal.

Swallowtail butterfly and white veined morning glory.

Swallowtail butterfly depositing an egg on white veined morning glory. Follow up post coming soin.

Jumping spider and fall obedient plant.

Plushback fly and blue salvia

The relationship between rainwater or dew and plants is a crucial part of any ecosystem. In this case the few is is on a stem of crabgrass. If you run your fingers down the stem you will notice the texture that slows water from running off it's surface too fast.

Dew and stems

Carpenter bee and Salvia azure

I have noticed that plant material on the edges of symbiosis stops garbage from blowing from the convenience store. I see this as another way plants are in partnership with our various ocean.

Anole safely camouflaged in the chaotic lines of the vines mixed with a diversity of plant stems.

Juvenile mocking bird on a dead olive tree branch. I saw about six of them hiding in the American beautyberry after the rain. Now that the installation is a year old, it is getting height and layers. This added heights provides the birds with more protection, berries and perches for hunting small prey.

Stink bug on American beauty very.

Carpenter bee getting a back rub wile collecting nectar and pollen on a purple passion flower.

Sunlight nesting in Rattlesnake master.

?

Subtribe Hesperiina And milkweed.

Subtribe Hesperiina And frogfruit

? Bee on Rattlesnake master

roseate skimmer and fall obedient plant.

Skipper on bloom less salvia stem.

New World Checkered skipper and everybody’s buddy frog fruit.

Sor ies of fly sleeping in butterfly faea Bush.