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?

Indiana University artist in residence— conceptualism, the site, archeology and anthropology.

October 11th was the end of the first leg of my residency. The experience truly supports the statement you don’t get what you want but you always get what you need. I did not seek out the residency but I can see how it is helping me take my Social practice to the next level.

It is giving me the opportunity to use; the symbolism of a labyrinth, the regenerative symbol of a bison, the turfgrass of an institute of the US collegic system to change societal habits. These features alone are rare and hard to come by resources.

Exploring the campus and discussing my plans with all who would listen resulted in IU providing me with the opportunity to add a few more layers to the work. Specifically conceptualism, archeology and anthropology.

Conceptualism- The Eskenazie Museum on IU’s campus has one of the three complete collections of Marcell Duchamps readymades. Seeing these pieces of Duchamp the father of conceptualism from the 60!s and 70’s gave me the idea that my work at Indiana would be more impactful if it is conceptual.

As I began to plan the labyrinth design and installation I began to see how beautifully Conceptualism works with Social sculpture. If I create the concept and the design the steps to install it and the students implement my concept and design it becomes theirs. It won’t be my art they assist me with it will be their actions taking meaningful steps.

The last Monday at IU in a meeting discussing the actual installation process with one of the professors and directors of the Hilltop Gardens it was suggested I work with the anthropology department and Archeology departments when I return. Archeologists will be enlightening when it comes to installing the grid. The Anthropology department can help facilitate a possible relationship and sharing of culture between the students of the First Nations and the students who do not have a deep connection to the land. I would like the installation to be a catalyst for the two groups to develop a unified way forward, a new tradition or ceremony that will give them all together a personal connection to the landscape and the biodiversity it will support.

The next step is to get the University wheels to approve a site. To be the most successful the site needs to be a sea of turfgrass, have full sun, be spacious enough to accommodate the 85’ X 54’ bison, and accessible to the students and community.

I am thrilled to announce that in late January 2024, IU selected a sloped plot of The Hilltop Gardens for the installation.

Related blog posts

A labyrinth of what shape? http://www.cindeeklement.com/blog/2023/10/2/what-kind-of-labyrinth-a-seed-a-beautiful-design-a-bison-that-is-the-question

The design

http://www.cindeeklement.com/blog/2023/10/8/the-labyrinth-design-how-will-it-be-installation

From 8” X 10” to 53’ X 85’

http://www.cindeeklement.com/blog/2023/10/7/how-do-you-build-a-labyrinth

Language and Perception

In the above image the wrench represents industry and the butterfly the natural world.

For those with philosophical minds, it’s fascinating to explore how language shapes our understanding of the world. The power of words extends beyond mere communication; it molds our perceptions and influences the way we interpret reality.

Consider how our dominant cultural values can impact our vocabulary and ultimately shape how we perceive things. If our society places highest importance on industry and financial gain without regard for environmental consequences, our language will reflect that mindset.

Our perception of the image and the world is shaped by our language. If our main focus is on achieving economic success at any ecological cost, then our vocabulary reflects these thoughts, and these thoughts in turn influence how we value ecology. Take a moment to consider this image of a butterfly and a wrench.

What do you perceive — a wrench supporting a butterfly or a butterfly struggling to withstand the pressure from a wrench?

We can use this knowledge to change society – by analyzing the relationship between language and perception, we can start to question and challenge these dominant narratives. We can choose to broaden our vocabulary, incorporating words that prioritize environmentalism and regeneration.

Imagine if everyone shifted their linguistic focus towards promoting regenerative practices, valuing nature, and taking responsibility for ecological well-being. This change in vocabulary could create a shift in perception – from viewing nature as something to exploit for financial gain to recognizing its inherent value, fragility and it’s power.

So let me ask you again: How do you perceive the image of the butterfly and the wrench? We have an opportunity to reflect on the power of language, challenge conventional thinking, and work towards creating a more regenerative future for ourselves and generations to come.

#ecoart #socialsculpture #wrench #butterfly #language #womanartist #texas #houston #cindeeklementart

Heat Dome

“What I propose, therefore, is very simple: it is nothing more than to think what we are doing.”

-Hannah Arendt, The Human Condition

Heat Dome

Watercolor monotype

30" X44"

Bare ground, concrete, asphalt, and astroturf emit 4X radiant heat. Great masses of radiant heat create heat domes. Heat domes prohibit weather from moving across the land. In contrast, surfaces covered in thick layers of plants indigenous to the region store water in the soil. When the day warms, the plants transpire, releasing bacteria with the moisture to form clouds that provide shade and then rain. We each need to carry our ecological weight. We can start by considering new ways to surface our city scapes to cool the planet.

Heat Dome ghost

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”

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.

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.

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.

The National Wildlife Federation - feature

Partnering with communities, schools, governments, and organizations across the country, the National Wildlife Federation is leading the charge for conservation.

Through their tireless commitment to protecting and restoring habitats, they have managed to breathe new life into endangered species like eagles, deer, elk, bighorn sheep, and whales.

I am deeply proud to have my work featured in the prestigious fall edition of the National Wildlife Federation magazine. It is a true honor to be recognized alongside such incredible conservation efforts.

Peck + Scratch

Peck + Scratch Installation

Eight chickens and two roosters were installed in Symbiosis, April 1, 2023, from 11:00-5:00

 There's more than eggs when it comes to urban chickens. Peck and Scratch is a throwback to when every family had a symbiotic relationship with these quirky feathered friends. It was common knowledge that chickens are miraculous energy transformers; they effortlessly clean up weeds and bugs from living soil while providing families with a more sustainable and cost-effective alternative to chemical pesticides and herbicides. Plus, their waste is invaluable - it replenishes the soil with much-needed nutrients for plants to thrive. In addition, the protein-packed eggs they lay contain all the amino acids necessary for promoting brain health for early childhood development.

By offering a cozy environment, refreshing water, and a lush habitat, we're showing gratitude towards our curious and joyful friends and providing them a safe home away from potential harm. Instead of supporting factory farms, our chickens deserve to thrive in an ecosystem filled with living soil and all the essential components they need to lead happy, healthy lives.

It's time to think outside the (takeout) box and invest in the power of urban chickens.

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

Earth Moves - almost didn’t

Done! My gloves are proof. For weeks, my schedule was jam-packed with proposals and large-scale projects that needed my attention. Amidst all the chaos, I was also starting a brand new sculpture for the Mayor's Office of Cultural Affairs' Earth Day Celebration. I thrive when I can hyper-focus, but this time I almost let something slip through the cracks. "Earth Moves" was in danger of being incomplete by the deadline. With less than a week left to finish, I knew I had no choice but to push myself harder than ever before. I woke up at 5:00 am every day and worked tirelessly until 4:00 pm, without taking a lunch break. I felt every muscle in my arms and shoulders ache, but the feeling of being fully present and working towards something important was truly exhilarating. I couldn't disappoint Necole Irvin and let "Earth Moves" fall short of its potential. After countless hours of welding and crafting, today the sculpture was finally installed on the 3rd floor of the Julia Ideson Library. The end result is a, call for action work of art made from welded steel, lath, indigenous clay, grass, and glass beads. It was a true labor of love that I poured every ounce of myself into. #earthday @lanolalady #mayorsofficeofculturalaffairs #houstonmayor #cindeeklementart #work #gloves #drive

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.

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 - the ripples

For many artists, satisfaction comes from selling their work. For me, happiness comes when others mimic my work.

A little over a year ago, I met a young couple with a commercial landscape business dept. I invited them to be part of my social sculpture water + air + citizen that took place this past winter. I shared with them the next phase of Carbon By The Yard. This spring I among many volunteers, briefly helped Maggie and Isaac install their inspiring monumental version this spring. Luckily it survived the drought and made the Chronicle.

This Novrmber 5th carbon By The Yardwhich will take place this November 5th. During the community family celebration on November 5th, the relief Carbon By The Yard will be transformed into Carbon Sink. Stay tuned to learn more.