Prairie Rhythms: Predators and Pastoral Stewardship

As I prepare for my upcoming living sculpture titled "Sequel," I had the opportunity to explore the prairie ecosystems at Pierce Ranch. The morning started with collecting prairie seeds, which is a vital step in bringing my sculpture to life. To enhance my understanding of these ecosystems and find the most viable seeds, I reached out to a local prairie conservationist who has been instrumental in restoring numerous prairies, notably preserving the Katy Prairie. Collecting seeds is much like eating crawfish, proven to be a catalyst for engaging and enlightening dialogue.

The insights I gained from this exchange confirmed my concerns regarding land preservation. It might surprise and disturb you to learn that the most vibrant and diverse prairies aren't necessarily those that are protected. Rather, they are the prairies that have embraced a more dynamic relationship with the land through careful ranching practices and thrive with life and diversity.

Historically, the natural balance between predators and prey shaped these ecosystems. Predators once hunted freely, guiding the movements of herbivore herds, naturally managing the consumption of vegetation (energy) and the dispersal of organic matter in the form of dung, returning energy back into the soil. However, human intervention led to the decline of these predators, overgrazing, and the desertification of ranchlands. Modern-day ranchers have learned to adapt by using portable fences to mimic these natural movements. This modern adaptation sustains the prairie as a healthy ecosystem, supporting numerous bird species and wildlife.

Through this blog post, I hope to reach an audience unaware of the critical role of ruminants in preserving and revitalizing prairie ecosystems. It's not merely about protecting a static image of nature but understanding and fostering the dynamic relationships that sustain it. The prairies are a testament to the resilience and complexity of life when allowed to interact naturally, even within the framework of sustainable human practices.

It's exhilarating to see how this knowledge aligns with my artistic vision. The conversations I've had and the observations I've made will undoubtedly enrich the narrative and structure of my living sculpture. The prairie seeds are not just components of my work; they symbolize a deeper understanding of ecological balance and the beauty of a thriving ecosystem. They are a source of energy and knowledge, a way to repay the planet.

As I continue this creative process, conversations with friends and experts will remain the cornerstone of my inspiration. In sharing these insights, I hope to foster a broader appreciation for the nuances of prairie conservation and the subtle yet profound ways we can contribute to preserving our natural world.

I leave you with questions that modern society must consider: How can ruminant populations be managed in the absence of predators? What are the consequences of not culling herds? What does the future cycle of life entail?

WHISPERS OF A SHIFTING DIVIDE

Whispers of a Shifting Divide is a polished bronze sculpture that imagines the unimaginable. It was inspired by my children's 1997 discovery of a crustacean fossil lying in the desert of West Texas just before we moved east to semitropical Houston, Texas.

The sculpture symbolizes the U.S. 100th meridian, the demarcation between the arid western US and the humid eastern US since the early 1800s. Since 1980, this demarcation between arid and humid has shifted 140 miles eastward from the west side of Austin, Texas to the east side of Austin to the 98th meridian. Another 140 miles — another 40-50 years — and Houston, known for its semitropical humidity will be on the arid side of the boundary.

The polished bronze material nods to Houston's future and industrial character, particularly the polished steel street signs in its minimally landscaped commercial tourist area, Uptown Houston.

By imagining the unimaginable, this work fosters a dialogue that calls for environmental consciousness of the possibilities of our actions.

Bombus melanopygus - Black tailed bumble bee.

How the bumble bee got its stripes https://www.eurekalert.org/news-releases/600078

Bombus melanopygu, a captivating bumblebee species that I recently began studying for my body of work, “Rumblings”. As an artist, my process begins with thorough research, delving into the intriguing world of each unique species. Despite the limited information available, I find myself captivated by Bombus melanopygus and its enchanting research qualities.

Incredible breakthroughs have been made by researchers in understanding the color differences within bumblebee species. A recent study, conducted by experts at Penn State, has revealed the presence of a specific gene that drives these variations in color patterns. This discovery not only sheds light on the astonishing diversity among bumblebees, but also provides insights into the evolution of mimicry, where individuals adopt similar color patterns within a given area. The gene resides in a highly conserved region of the genome, which serves as the blueprint for segmentation. This groundbreaking research was published in the renowned journal Proceedings of the National Academy of Sciences on April 29, 2019. -

Moving Forward

Moving Forward

67” X 15” X 18”

Image by Jake Eshelman

Found object concrete and rebar curbing fragment, rusted steel, bronze, and gold leaf.

Moving Forward consists of two rectangular concrete curb fragments and two cast bronze roots, the latter with gold-leaf patinas. These objects are tethered like irregular beads strung on a wire of rusty rebar falling to the earth.

The fractured concrete and the more extensive root land at the forefront in a forward strutting anthropomorphic structure. Growing behind the long-necked bird-like form, a stem of rebar twice the creature's height reaches for sunlight. The meandering stem is counterbalanced with the smaller root in a lyrical passed sunflower shape.

The weighted composition invites viewers to reimagine the relationship between our engineered landscapes and ecological systems to support wildlife and forge a path toward a regenerative future.

Interdependence

Interdependence

60” X 10.25” X 10.25”

Image by Jake Eshelman

Texas Bricks, Paint, Plastic Dome and Base, Vintage Globe Bank, Prop $100 bills, Coins from a diversity of economies, Paper Wasp’s nest on Maple tree leaves, Seashell with barnacles, Red swamp crayfish, bird nest, feather of a Pileated Woodpecker, Blue jay feathers, Mantis, Cicada, Great Purple Hairstreak, Tropical Checkered Skipper, White Peacock, Red-spotted Admiral, Monarch, Red lacewing butterfly, June Beetle, Eastern Carpenter bee, Wolf Spider, Beebalm, Sacred Datura, Bundleflower and various dried leaves.

Artist Statement

Interdependence is built from a collection of TEXAS-stamped bricks washed with a white patina. In a staggered stacked square skyscraper form, the bricks shoulder a transparent dome and base, crowned with a vintage Globe Bank finial.

Within the transparent dome is a still-life collection of intricately connected elements from natural and human-made systems. They wreath a "Houston" stamped brick fragment.

By using everyday materials that we typically associate with urban environments, the work conveys that the collective actions of Houstonians, living in a dense population center with a sprawling footprint and long growing seasons, have far-reaching implications for global economies. It is a reminder that our choices impact not just our immediate landscapes but global eco-systems as a whole.

This sculpture is not a warning. It presents a solution. I employ systems thinking to suggest that embracing economic systems is necessary to recover biodiversity. Economic systems dominate our culture and intimately impact natural systems. Houston's ecology and commerce can potentially create a new economy - an ecotourism industry. Houstonians can transform the negative impact of industrialization, commerce, and urbanization into a source of beauty, wonder, and economic growth by advocating for our natural habitats.

Interdependence invites us to rethink our individual relationship with the planet’s biodiversity, recognize the value of our natural heritage, and embrace the idea that supporting wildlife is a global responsibility dependent on a collection of individual acts. 

Hats and Storytelling.

Indulging in a morning of thoughtful stitching and reflection. Since my youthful days in the 70s shaping hats at my father's feed and Western Wear store, hats have held a profound meaning for me. They possess a unique ability to tell stories.

Recently, I acquired an extraordinary green hat from the talented artisan Edgar Alvarez at Gran Central Hats. Their craftsmanship captures the essence of customization, allowing ribbons, feathers, and all manner of embellishments to adorn your own hat. I made the decision to handle my own stitching, and I must admit, piercing through the resilient felt material is no easy task.

As I sit here, needle in hand, I find myself musing about the idea of incorporating elements inspired by the prairie grasses and the thriving ecosystem that thrives through the consumption and waste patterns of bison. It's a fascinating, how their actions actually contribute to the renewal of life. For instance, birds benefit from the ecosystem by consuming pests that break down bison dung. These birds utilize bison fur to construct their nests, as the fur provides antiviral properties, fortifying their eggshells. Furthermore, the grasses that flourish due to the bison's eating and waste habits offer nesting materials and shelter from predators.

I am hopeful that when finished this hat will be something more than a mere fashion accessory; it possesses the potential to be a powerful catalyst for conversations, stimulating discussions about our individual roles in the process of regeneration.

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.

Living Llabyrinth- Building the grid

Building a Large Grid for Installing a Labyrinth: My Process. One reason I write these blog posts is to record my process. The other is to share information.

Constructing a labyrinth grid of this magnitude may seem like a daunting task. And it is for me. With the right strategy, it can be accomplished efficiently. As I embarked on this venture, I took the time to experiment and optimize my methods. Here's a breakdown of the process that was the most efficient.

To begin, gather the necessary materials: X-axis cords measuring 53 at 54' and Y-axis cords measuring 33 at 88' lengths. Keep in mind that the cords come in 100-foot lengths.

I wish I had of planned at 50’ by 100’ bison. The lighter is for singing the ends so they will not ravel. The tape is for tapeing the measured and twist-tied ropes for the installation.

I am making each cord that is a multiple of 5 a white cord. I think this will helpful the day of the installation.

1. X-axis cords: Start by unwinding the hundred-foot cord carefully, ensuring it doesn't become tangled. Here's a handy tip: tie a knot at one end and secure a twist tie next to it. Place the knotted end in a doorway and shut the door on it. This will hold it in place. Then, stick your arm through the middle of the looped cord and slowly unwind it, walking away from the door until it's completely straight.

2. Measure and cut the cord, leaving a few inches to knot and singe the ends to prevent unraveling. Tie another twist tie at the 54' mark. This will serve as the reference cord for measuring all other X-axis cords. Keep this cord secured in the door.

3. Take the leftover cord singe the end and knot it and tightly tie a twist tie inside the knot. Shut in the door with the reference length cord. Measure it against the reference cord and splice it with a piece of the next 100' wound-up cord to measure the 54' length accurately. Now you have a cord to start marking the grid on.

To mark the grid on the first cord—

The dining has been my studio work space. First I covered the 8’ table in a thick paper to protect it. Next I marked every 20” from end to end.

4. Prepare a long table by placing sheets of paper and securing them to the table so they will not slip. Measure and mark on the paper every 20". Lay the cord on the marked paper. To ensure stability, anchor the cord with a heavy object like a case of water.

I used a case of water to weigh down the cords.

Starting from the first knot, and twist tie secure each twist tie tightly along the edge of the table at the 20' marks. Continue tying twist ties until you reach the end of the 54' mark. You may have a little excess cord hanging after the last tie.

The 8’ mark of the table length and the last twist tie. I leave a few inches at the end just in case.

The first piece with every 20” tightly tied with a twisties.

5. Carefully wind up the cord, tape it securely, and mark it as X-axis 54'.

The first grouping of five- 4 red and the 5th white.

53 pieces - completed.

6. Finally, organize the cords by making four red and one white, keeping them grouped together.

IU - How do you build a labyrinth? From 8”X 10” to 83’ × 54’

How to go from an 8” X 10” paper to a field, Is the question ruminating in the back of my mind every day.

Unfortunately Bloomington is in between art supply stores. As a result I could not buy locally any paper larger than 8” X 10” . While I waited for an order to come in I pieced together 8 - 8” X 10” pages and scaled it up 2X.

When I scaled it up 2X I started seeing that I could take it to any size I wanted by using (X, Y) coordinates. I am using a 20” scale.

8- 8” X 10” paper to a make a 18” X 30” sketch.

How I could get a 83' × 54’ rectangular grid with right angles on a field was a big concern.

An idea came to me when I toured the charming Wylie House, a fascinating piece of history nestled just off campus. This historic gem, built in 1835, was once the cherished home of Andrew Wylie, the inaugural president of Indiana University.

The Wylie House master bedroom.

During my visit, the knowledgeable docent unveiled a captivating detail - the simple rope framework that upheld the mattress.

The antique bed’s rope framework that supports the mattress. What looks like a cup is the chamber pot.

A rope grid might be the answer to getting a proper rectangle With right-angled corners and grid onto a field.

This visual solidified my strategy for bringing the labyrinth design from paper to reality in an open field. The framework I need is 83’ × 54’ the vertical and horizontal ropes that cross every 20”. We can twist tie the coordinates together making the rectangle form.

Artist in Residency at Indiana University - Living the Dream Installation — Labyrinth

Living the Dream as an Artist in Residence at Indiana University!

I couldn't believe my luck when I was offered the opportunity to be an artist in residence at Indiana University. Not only would I have access to all the incredible resources and opportunities of a renowned research university, but it could provide the opportunity to fulfill one of my monumental artistic visions.

As part of my two month residency, I'll be giving artist talks, exploring local artist studios, landscapes of southern Indiana, and creating a special piece to be exhibited at the University or in the beautiful town of Bloomington.

During my interview for the residency, I couldn't help but ask about the size of the campus. And just as I suspected, it is massive. I imagined it with expansive fields of turfgrass. I remember feeling my heart swelling with excitement and hope. Could Indiana University be the site for the monumental installation I dream of?

Let me explain - This summer seeing CARBONsink develop within Symbiosis at Lawndale Art Center and watching the community enjoy entering it made me think. I wondered if the CARBONsink relief was a step to create a larger piece using the same process but with a deeper meaning and making a bigger impact. A little bit of research regarding Greek philosophers and labyrinths and these thoughts turned into a dream. I have a vision of completing a living labyrinth.

I began studying the designs, meanings and histories of mazes and labyrinths. I was lured by labyrinths pretty fast. Mazes are puzzles and meant to confuse you. Labyrinths check all ny boxes.

-A labyrinth is a meditation. —

-There is 1 way in and 1 way out. What seems like the end is also the beginning. It is the perfect metaphor for inspiring ecological - societal perspectives.

-As an artist whose work in the simplest form looks at time and movement a labyrinth is a logical and interesting medium.

-A living labyrinth to convert fields of turfgrass into a living sculpture to regenrrate life.

Typically in an artist in residency one would take some time getting to know the University and the City before propsing their work. I could not contain my excitement so asked if the University would be interested in a site specific living labyrinth? It would be a social sculpture in the form of a relief that demonstrates the steps for turning the largest crop in the US - turf grass into the largest CARBON sink in the US. Ed the Associate Vice Provost for Arts and Humanities responded with great enthusiasm in his voice. Every summer the University and the city of Bloomington celebrate the life and writings of Kurt Vonnegut with the Granfalloon Festival. A living labyrinth would be a fitting art installation in conjunction with the festival.

For inspiration on my drive to Bloomington, I listened to Cat’s Cradle and Slaughter House Five.

The Baby Whisperer

“The Baby Whisperer” 30” X 44” watercolor monotype Horses are truly a marvel of sensitivity and emotion. My daughter-in-law recently visited a stable where she used to ride, and while my son shoveled manure for their garden, she had a beautiful moment with one of the mares. Even though she had never ridden that particular horse, it became clear that the horse had been affected by its owner’s recent pregnancy. This experience reminded me that wildlife deserves much more credit than we often give them.

This observation also underlines how crucial it is to build connections with all creatures in order to restore and maintain a healthy ecosystem. I want to express my gratitude to Griffin and Alex for providing a stunning photo that inspired me to reflect on these profound ideas. They continue to motivate me each and every day.

A few weeks later I created two more pieces. One for my daughter-in-law's parents and one for my son.

Baby Whisperer I

Watercolor monotype 30” X44”

Baby Whisperer I ghost print

Watercolor monotype 30” X44”

Baby Whisperer II

Watercolor monotype 30” X44”

Baby Whisperer II ghost print

Watercolor monotype 30” X44”

CARBONsink rises — how to get rid of your turf grass.

“Carbon by the Yard” was a temporary relief in the shape of the Carbon element symbol, “C”. This simple gesture brought attention to the fact that gas lawnmowers emit eleven times the emissions of a new car.

Carbon by The Yard

In 2022, I transformed “Carbon by the Yard” piece into “CARBONsink ” using solarization and regeneration instead of herbicides to transform the turfgrass into biology. I then seeded it with wildflowers. The new piece soaks up rainwater, stores carbon and supports pollinators.

It is important to note that the EPA estimated that non-native turfgrass monocrops use one-third of all public water. In the US, this translates to 9 billion gallons of water daily.

These two social sculptures highlight how our colonial landscape decisions impact our carbon footprints.

CARBONsink 6/8/2023

DIY- check out the steps to install your own CARBONsink.

Soak the ground.

Use the power of water in conducting heat into the plot. Proper hydration will pull heat from the surface deeper into the soil, enhancing the effectiveness of solarization.

Cover the soaked turf with two layers of cardboard. This will smother the turf grass and use the suns energy to solarize it.

Soak the cardboard layer

Layer 4”- 6” leaf mold compost. I use Nature’s Way Resources and Heirlooms.

Spread the compost evenly .

Soak the compost , and level it for sprinkling the seeds.

Sprinkle seeds generously.

The seeds come from Native American Seeds.

Make sure the seeds make good solid contact with the ground. Press them in.

April 2023

June 8,2023

July 29, 2023

When plants collaborate-

”Problems cannot be solved with the same mindset that created them” - Albert Einstein

To change my mindset I have to change how I see. For years I have seen through a mechanistic mindset. Observing the growth of Symbiosis these past years has given me a new perspective. When I step back and consider what else might be happening, what can I see if I consider natural systems as opposed to purely industrial systems? A whole new world of thought and possibilities unfolds.

I see that nature is a master collaborator, as proven by the Rudbeckia hirta and Passiflora incarnate duo.

Planted close together, the vine quickly sought support from the stout-stemmed Susan, needy for sun, but lacking the strength to reach it alone. The black eyed Susan, not threatened, seems to welcomed the addition, together they twined and grew - now standing not two but four feet tall. Conventional thought sees the vine as overcoming the flower, but in reality, they are just two plants working together, building a structure that is maximizing photosynthesis and basking in the sun while providing protective habitat small life dwelling in the area.

A lesson for us all - Collaboration can truly conquer all. The fiery skipper seems to agree.

Cabinet Oak Project- Contemplation from start to finish

Spring of 2022, on Cafe (Call for entry), I saw a call for the Cabinet Oak Project. The call was to donate work to support the restoration of the Texas White House and start an artist residency program.

The call is a good fit for my work. It perfectly connects my past works, Heritage and Gust, with my present eco-art work and social sculpture. LBJ wore the same Stetson Open Road I used in both pieces and I support the mission of the fundraiser. Interestingly, LBJ often wore his Stetson with the brim flipped up. It is an unusual way to wear a hat and reflects his unique personal and political legacy.

After receiving the acceptance and with the stump in my possession, I studied the history leading to Johnson’s presidency, the state of the country, and his presidential legacy. Contemplation is the result of that research.

The rest of this post follows my process of creating Contemplation.

Contemplation

29.5” X 18” X 14”

Bronze, The Cabinet Oak stump, concrete, paint

Contemplation humbly records the imagined solitary moments of Lyndon B. Johnson. The Cabinet Oak stump, carved with deep thoughts, is paired with his hat and cigar, reflecting flaws and imperfections, bringing to life the knowledge, passion, and determination that shaped 'The Great Society.' A reminder that nature can inspire great acts.

My proposal-

My practice is inspired by researching natural systems in Texas'ecological history that build soil health, absorb water and sequester carbon.

My work reimagines urban landscapes, proposing holistic restoration of ecological balance — awakening urban consciousness to our kinship with living systems and restoring what is lost. Through sculpture and activism, my work incorporates time and movement. Adapting these processes, including organic and living materials, I create works to inspire urban land conservation and therefore extend our time on this planet. I believe that widespread environmental change begins with envisioning (and making visible) the wisdom inherent in the natural world.

I envision taking a rotting stump full of wormholes and marked with evidence of the ecosystem the ancient tree limb once supported as representative of our Texas natural history. I willrest on it as a symbolic witness of the many discussions, arguments, and enlightenment under the great oak. This symbol is a well-worn, cast bronze Stetson Open Road hat, often worn by Lyndon B. Johnson. I have worked in cast bronze hats since 2013. Heritage is in the Houston City Collection. In 2020 I completed Gust, which is on my website. I would be honored to be included and willing to donate 100% of my work to this cause. Depending on the wood, I may cast the stump and hat together.

It is hard to pick the perfect stump to reflect the man, his unique policies, ability to get things done and the ecological history.

I picked a stump with a likely spot that LBJ might have rested his hat on under the shade of the big oak tree.

An employee of the LBJ Ranch Park painted the ends of all the stumps white to prevent insects from nesting in them.

They have not heard that we have entered the Anthropocene and insects are significantly declining and need rotting wood for habitat.

The park could consider implementing a program to provide a habitat for insects. It might be an excellent opportunity here.

.

White paint gone -

When cast in bronze, the new hat will reflect the wear and tear of running a ranch in Texas and the mental stress of running a country in the ’60s. The stump is not what I had hoped it would be. The piece needs more. Knowing many men smoke cigars when they go to their ranches and that President Johnson smoked an occasional cigar, I decided to add detail a precariously placed half smoked on a cigar. It will still need more and there is time to figure it out.

I apply wax to the entire surface so the hat will not absorb the slurry that will build the shell. I use a heat gun to milt of the wax to builds up too much and I shape it to show wear.

The bronze cast cigars and hat are ready for chasing. I cast a few cigars so I would have choices.

Metal chasing done. The bronze was so heavy it made the stump tip over. I cut the opposite side under the stump to balance the bronze. It is missing something……..

How can I bring this sculpture to life while capturing the essence of the man, the political climate, and his bond with nature, while still remaining authentic to my artistic style? He was one of our more accomplished Presidents, passing the first bills that address issues we are still struggling with today. I need more research into his policies. That is the detail I need to make the piece meaningful.

I envision Johnson holding meetings beneath the Old Oak, arriving early to ponder and whittle down his ideas into actionable plans, navigating through the complexities of government. I can almost see him, alone in the shade, puffs of smoke escaping his lips carving his best ideas into the heart of the Oak, contemplating every move.

The wood looks too fresh. In order to give it an aged look I watered down an almost empty can of house paint and washed it over the delicate bark.

Next up the patina.

It took fierce passion to pass bills to combat poverty, rejuvenate the environment, and embrace diversity - all while rekindling civil rights and nurturing the arts. The more I work on this piece, the more I love it.

I love research based art. It was a good fit right?

Symbiosis - the research for documenting the work.

In 2020, I was asked by Lawndale to propose a sculpture for the sculpture garden. Instead of proposing one of my steel or bronze sculptures, I proposed a living sculpture titled Symbiosis. I have since endeavored to witness and record/document its growth and relationships through photography. These photographs will be my reference materials for more poetic documentation. Simultaneously I have sought out historical and contemporary ways of immortalizing natural history. My search led me to explore websites, antique stores, and estate sales, looking for how naturalists, explorers, and artists have documented Earth’s wildlife and plant life’s relationships throughout history. This research has led to the discovery of two exquisite artistic collections from 1705 and 1903 that sparked inspiration within: Maria Sibylla Merian's book Metamorphosis Insectorum (1705) as well as Theodore Jasper’s American Ornithologists' Union (1903). Both are incredibly valuable works that promise to help me find my wings and bring Symbiosis memories into full bloom.

For the next seven months, I will diligently document through photography the unique relationships as they develop in Symbiosis. When 2023 draws to a close, my contract with Lawndale runs out. Then, I will start the final chapter of the work. This project has become something special that needs to be immortalized in artworks showing their symbiotic relationships. With watercolor monotypes as my medium of choice and abstract expressionism becoming part of me along the process - these works are primed to tell stories of how humanity can reconnect with natural systems in urban landscapes.

Theodore Jasper’s American Ornithologists' Union (1903)

Theodore Jasper’s American Ornithologists' Union (1903)

Maria Sibylla Merian's book Metamorphosis Insectorum (1705)

Symbiosis: Why I am not anti-freeze

Humans naturally mourn the economic and surface loss of colorful flowers and green plants from a freeze. It is easy to become wrapped up in the superficial aspects. With systems thinking central to my eco-art practice, I wonder if there is an ecological purpose for a freeze. It has been a month since the freeze giving me time to watch and wonder. I have looked beyond the skin-deep perspective and discovered something beautiful about how a freeze gives life.

A week after the freeze, the same space is transformed into the earth tones of a 1980’s residential den.

This freeze occurred at the end of the second year since the Symbiosis installation. It was my first freeze with native plants and opened a floodgate of realizations and thoughts about freezes.

A freeze in the tropics looks and acts differently than in the northern US, but how are freezes in the tropics different than those in the Northern states? How does slimy organic matter from a freeze in the tropics impact its soil complexity? A freeze in a coastal prairie garden that has shade from a two-story building is not like a freeze in a sunny open field. Is there a relationship between the freeze and the drought, is there a relationship between seasons? For the past month, these are the questions I have taken with me when I visit Symbiosis and research on line.

What initially appears to be a destructive event can be the seed necessary for regrowth. Prairie plants are particularly delicate in these intense freezes as frozen water expands and rips apart cell walls, destroying their armature. When the thaw period eventually comes, and the water drains away, all that remains is a slimy puddle of cell slime.

A small corner of Symbiosis before the December 2022 freeze.

These slimy puddles and decaying plants quickly milt into the soil, building its complexity and enabling it to store carbon, cooling the planet and soaking up water. When it breaks down, it provides food for microorganisms in the soil. A freeze is a quick and intense way to quickly build a large amount of living soil in the subtropics. This is a refreshing reminder of how our actions have real-world impacts. I am leaving the dead organic material to break down naturally. I am mindful of the inherent beauty of all seasons, all colors of ground cover, and the event's natural power and energy potential. Understanding and honoring freezes can improve Earth’s health for future generations. It is the fastest, most economical way to build a large quantity of soil. When it comes to soil carbon as an asset, a freeze is an economic plus.

I am not anti-freeze - instead, I'm pro-freeze!

Almost two weeks after the freeze and the new growth is noticeable. . The dried plants are crumbling into soil.

I still have unanswered questions and I am hopeful they will reveal themselves through Symbiosis. Until them I walk the garden every day in complete amazement the new growth rise through the decaying material as it melts in the armature of the soil.

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.

Planet Popsicles — and spam

I received a spam email this summer with a bold photo of a popsicle asking, “How do you cool off in the heat of the summer?” I immediately thought about how the planet cools off. That spam email inspired these ephemeral sculptures, I used the materials mother nature uses to cool the planet.

PLANET POPSICLES

6” X 1” X 12” ephemeral

Sticks, H20, Passionflower, Fall obedient plant, and American Beautyberry

PLANET POPSICLES

6” X 6” X 24” ephemeral

Sticks, H20, Passionflower, Fall obedient plant, and American Beautyberry, Beatles, Pokeweed, Scarbs, Golden Rod, passed butterflies, and passed moths

Tipping Point

Our past actions formed the precarious state of our environment. What we do today shapes our future. This piece suggests a caring and protective relationship between natural systems and urban development has extraordinary potential. I believe the human species has the creative capability to make our cities lush and diverse carbon sinks. My work investigates these possibilities.

Symbiosis Relationships 10/2022

New World Giant Swallowtail and Milkweed and the health of Monarchs. This tropical mikweed HAS to be cut down November 1. The Milkweeds are the host plants for Monarchs. They need to move south by November and won’t head south if Tropical Milkweed is available as a host.

Monarch and Climbing Hempvine. Climbing Hempvine is an aromatic delight. It reminds me if warmed sweet honey. The Monarchs agree.

Purple Coneflower and the Gulf Fritillary Butterfly.

Mockingbirds and the fence. I have learned that birds need habitats with multiple elevations. The fence is a popular place for birds to look for insects and tiny toads to eat while keeping an eye on predators.

Monarch and Climbing Hempvine.

Ask upper of the Hesperiini family

Gulf fritillaryon American beauty berry.

GulfFritillary on Marsh fkeabane pictured below.

Marsh fleabane

Gulf fritillary and Lawndale’s mailbox. Over a few weeks the count in the doorway climbed to over 200.

In identified mushrooms.

Carpenter bee

Gukf Fritillary are eating everything

How nature arranges itself

Chrysalis on crabgrass stem

Morning glory, mile a minute vine.

Carpenter bee and Obedient flower

The White viened pipevinesis is the host plant for the Pipelvine swallowtails. I wish I had more. The caterpillars devoures it, and then it comes back.

Cloudless Sulphur and Turkscap

Hemiargus ceraunus, it blue ceraunus,an d pasted native plants.

Monarch and Blue mist flower

Northern Mocking bird perched on the fence.

Northern Mockingbird and trough pond

Hesperiina And Frogfruit

Pushfly and Passiflora leaf

True Sparrow stays in messy bush like spaces for safety and for a source of caterpillars

American snout butterfly

Gulf Fritillary with OE

“Ophryocystis elektroscirrha (OE) is a debilitating protozoan parasite that infects monarchs. Infected adult monarchs harbor thousands or millions of microscopic OE spores on the outside of their bodies. When dormant spores are scattered onto eggs or milkweed leaves by infected adults, monarch larvae consume the spores, and these parasites then replicate inside the larvae and pupae. Monarchs with severe OE infections can fail to emerge successfully from their pupal stage, either because they become stuck or they are too weak

to fully expand their wings. Monarchs with mild OE infections can appear normal but live shorter lives and cannot fly was well as healthy monarchs.

Although recent research shows that tropical milkweed can lower OE replication within infected monarchs (due to high levels of cardenolide toxins), this might not benefit the monarch population. In

fact, this could actually promote disease spread by allowing moderately infected

I PROJECT MONARCH

HEALTH

monarchs that otherwise would have died quickly following eclosion to live longer and spread more parasite spores.“- monarch parasites.