Kelp: Coastal Sea Otter Help and Patagonia Cold Comfort

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Found in cold waters along a quarter of the world’s coasts, kelp forests are the foundations of many marine ecosystems. They also absorb enormous amounts of pollution, help sequester planet-warming gases and underpin coastal fisheries and the seafood industry—benefits valued at $500 billion a year.

Found along 25% to 30% of the world’s coastlines, kelp forests are the most extensive marine vegetated ecosystems in the world. A type of seaweed, kelp attaches to rocky surfaces on the ocean floor and—like terrestrial plants and trees—grows upward toward the sunlight. Some experts even call kelp “the sequoias of the sea.” It’s an appropriate epithet: stems of bull kelp can soar more than 100 feet high, and their canopies—the frond-like blades that tangle on the ocean surface—are visible from space.

Kelp forests harbor a greater variety and higher diversity of animals and plants than almost any other ocean community. Many organisms use the thick blades to shelter their young from predators or even rough storms. Underwater towers of kelp provide food and habitat for all kinds of marine life, including birds, crustaceans and other invertebrates, fish, sea lions, sea otters, seals, whales and several commercially important fishery species, such as kelp bass and black rockfish.

Unfortunately, however, today kelp forests face a variety of threats, such as commercial kelp harvesting, pollution and climate change, which exacerbates El Nino Southern Oscillation events and negatively impacts kelp reproduction and survival. Overgrazing by fish and sea urchins is a particularly large problem for kelp forests. Predators such as sea otters and sea stars typically keep populations of urchins and grazing fishes in check, but recent declines in sea otters and sea stars on the West Coast have led to an explosion in the number of urchins.

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In California, kelp forests are more extensive and resilient to climate change where sea otters have reoccupied the coastline. Where sea otters are absent, kelp forests have declined dramatically. In fact, sea otter population density is the strongest predictor of change in kelp canopy coverage.

But don’t count the kelp forests out yet. A recent discovery proves that these ecosystems are far older than we thought and thus have been through more environmental stress than we imagined. And along California’s Central Coast, growth of the southern sea otter population is helping kelp forests expand by increasing resilience to environmental challenges—including extreme ocean warming—nearly compensating for the kelp losses along both Northern and Southern California shores. In Patagonia, the giant kelp of the rugged southwest coast is thriving, showing remarkable stability for almost 200 years.

Pacific kelp forests: “old growth”

The unique underwater kelp forests that line the Pacific Coast support a varied ecosystem that was thought to have evolved in conjunction with kelp over the past 14 million years. But a new study published in the journal Proceedings of the National Academy of Sciences in January 2024 reveals that kelp flourished off the Northwest Coast more than 32 million years ago, long before the appearance of modern groups of birds, bivalves, marine mammals and sea urchins that today call the forests home.

The much greater age of these coastal kelp forests means that they likely were a main source of food for an ancient, now-extinct mammal called a desmostylian. The hippopotamus-sized grazer is thought to be related to today’s manatees, sea cows and their terrestrial relatives, elephants.

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Coastal kelp forests were probably a main food source for an ancient, now-extinct mammal called a “desmostylian.” This hippopotamus-sized grazer is thought to be related to today’s manatees, like the one shown here.

Scientists didn’t think kelp were older than 14 million years because the organisms associated with the modern kelp forest were not there yet. But this study shows that the kelp were there; it’s just that all the organisms that researchers expected to be associated with them were not.

Evidence for the greater antiquity of kelp forests comes from newly discovered fossils—found along the beach near Jansen Creek on the Olympic Peninsula in Washington state—of kelp holdfasts, the root-like kelp parts that anchor them to rocks or rockbound organisms on the seafloor. The stipe, or stem, attaches to the holdfast and supports the blades, which typically float in the water, thanks to air bladders.

The authors of the study dated these fossilized holdfasts to 32.1 million years ago, in the middle of the Cenozoic Era, which stretches from 66 million years ago to the present. It was determined that the holdfasts lived in slightly warmer water than that of today, at the upper range of temperatures found in modern kelp forests. The oldest previously known kelp fossil, consisting of one air bladder and a blade similar to that of today’s bull kelp, dates from 14 million years ago and is in the collections of the University of California Museum of Paleontology.

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Newly discovered fossils of kelp holdfasts, the root-like parts that anchor kelp to rocks or rockbound organisms on the seafloor, provide proof of the greater antiquity of kelp forests. The stipe, or stem, attaches to the holdfast and supports the blades, which typically float in the water.

The only order of mammals that went extinct during the Cenozoic Era are the desmostylia. Kelp had long been suggested as a food source for these marine mammals, but actual evidence was lacking. The newfound fossil holdfasts indicate that kelp is a likely candidate.

These early kelp forests, however, were probably not as complex as the forests that evolved by about 14 million years ago. Detailed, 3D, X-ray scans through slices of the 32.1-million-year-old fossils revealed a barnacle, a mussel, a snail and tiny, single-celled foraminifera hidden within the holdfast, in addition to the bivalve on which it sat. That diversity of invertebrates, though, is not as high as would be found inside a kelp holdfast today. Fossils from the late Cenozoic along the Pacific Coast indicate an abundance of bivalves (clams, mussels and oysters), birds and sea mammals—including sirenians, related to manatees—and extinct, bear-like predecessors of the sea otter called Kolponomos. At 32.1 million years ago, the diversifying of organisms living in kelp forests had not yet started.

Kelp helper: sea otters

Moving ahead in time to just the past century, one of the biggest kelp forest supporters has been the sea otter.

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Southern sea otters were hunted to near extinction during the fur trade of the 1700s and 1800s. They survived because a few dozen animals eluded hunters off the rugged coast of California’s Big Sur.

In a paper published in the journal PLOS Climate in January 2024, California’s Monterey Bay Aquarium researchers show that sea otter population growth during the last century enhanced kelp forest resilience in the state. In fact, over the more-than-100-year period from 1910 to 2016, there was a significant increase in kelp forest canopy along the Central Coast, the only region of California where southern sea otters survived after being hunted nearly to extinction for their fur in the 1800s. At the century scale, the species’ favorable impact on kelp forests along the Central Coast nearly compensated for kelp losses along both Northern and Southern California coasts, resulting in only a slight overall decline statewide during this period.

Aquarium scientists used historical surveys of kelp forests dating back to the early 1900s to perform detailed estimates of biomass, canopy extent and carbon storage, while correcting for annual variations and differences in survey methods. This allowed the scientists to examine California’s kelp forest trends over a longer period, going back more than 60 years before available data from modern surveys based on aerial or satellite imagery. The team compared the corrected and conservative historical estimates to contemporary datasets, and then they used a machine-learning framework to assess the dominant drivers of change over the last century.

Statewide, the data showed only a 6% decline in kelp canopy from 1910 to 2016. Regional changes, however, proved more sizable. Kelp canopy decreased in northern and southern regions by 63% and 52%, respectively. Contrastingly, it increased nearly everywhere throughout the Central Coast, gaining an estimated 56% of kelp forest coverage.

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Recently, the U.S. Fish and Wildlife Service announced that reintroducing sea otters to the Oregon coast would be feasible. It would help restore kelp forests to ecological balance by cutting down on the number of sea urchins.

While the modeling showed sea otter population density was the strongest predictor of change in kelp coverage, it also identified other factors, including extreme marine heat due to climate change. Today, extreme heat in the ocean affects more than half of its surface. This is a major problem for kelp forests, as chronic temperature stress undermines kelp growth and health. Returning sea otters to areas of their historical range could help recover kelp forests and restore their benefits in more places along the California coast.

Another kelp helper: Patagonia’s cool coastal waters

While giant kelp forests around the world have struggled to stay healthy in recent decades—with some vanishing altogether—Patagonia’s giant kelp forests, on the southern tip of Chile, look just as they did in the early 20th century.

Heat waves can drive changes in what species inhabit kelp forests, such as sea urchins and the sea otters who snack on them in the Northern Hemisphere. But high sea temperatures can also stress kelp directly, as kelp are best adapted for cooler waters. In northern and central Chile, unregulated direct harvesting by humans is devastating kelp forests, too. These threats have degraded many kelp forests over recent decades and led to losses of 2% every year.

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Along Patagonia’s rugged southwestern coast, giant kelp is thriving. It’s thought that frequent marine cold spells could be keeping kelp happy.

But nautical charts as far back as Charles Darwin’s 1831 HMS Beagle expedition and modern satellite imagery of kelp forests show that little has changed around Patagonia, despite climate change and human influence. To find out why, researchers analyzed sea surface temperatures from the southernmost 800 miles of South America’s coastlines from 1981 to 2020. They were looking for marine heat waves and cold spells. While heat waves stress kelp forests, they wondered what impact cold spells could have.

When glaciers melt, more cold water enters the ocean environment. This can create very short peaks in cool temperatures, from a few days to two to three weeks. Cool waters can act like air-conditioning for kelp, regulating their environment and keeping temperatures comfortable. The researchers, who published their report in the Journal of Geophysical Research: Oceans in June 2022, found that South America’s southwestern giant kelp forests haven’t experienced an extreme marine heat wave since 1984 and, in fact, the area has had regular marine cold spells that are growing more intense. From 2014 to 2019, the region saw more severe and extreme cold spells than over the rest of the study period. Glacial melt and increased wind activity could explain these quick, localized cooling events. (Wind patterns that affect ocean surface circulation, heat fluxes or cold water traveling around Antarctica could also be factors.)

The outlook for these kelp forests may stay bright, at least for the immediate future. Current climate and ocean models predict that the Southern Ocean, the waters in which these thriving kelp forests live, will avoid dramatic warming. But as glacial melt increases, that freshwater can bring with it sunlight-blocking sediment, different sets of nutrients and even too-cold temperatures. Scientists don’t yet have well-defined windows for how long different kelp species can tolerate extremely cold water.

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In southern Patagonia, most of the lands surrounding the kelp forests are protected. However, that’s not always the case regarding the waters.

In addition, in southern Patagonia, most of the lands surrounding the kelp forests are protected, but not necessarily the waters. And in the northern regions of Chile, kelp forests are harvested for the alginate industry (alginate has applications in the dyeing, cosmetic, food, pharmaceutical, printing and textile industries), creating underwater deserts in environmentally favorable conditions. The researchers conclude that environmentalists, local communities, nongovernmental organizations and current governments should make kelp protection a priority.

Kelp continuance: otters and onward

Healthy kelp forest ecosystems provide us with many benefits, including contributing to carbon storage, reducing coastal erosion from storms and serving as nursery grounds for fisheries. And once washed up on the beach, kelp wrack plays a major part in the beach food web, feeding a highly productive community of small invertebrates—crustaceans and insects—that are in turn a favorite food of shorebirds. In many ways, we’re still on the cusp of learning more about the value kelp forests have for the environment and, thus, for us.

The conservation and recovery of endangered sea otters is one potential, nature-based solution for restoring kelp forests along the California Coast—and, perhaps, beyond.

Here’s to finding your true places and natural habitats,

Candy

The post Kelp: Coastal Sea Otter Help and Patagonia Cold Comfort first appeared on Good Nature Travel Blog.

Ceramic Houseplants by Ariana Heinzman Revel in the Absurdity of Domestication

Ceramic Houseplants by Ariana Heinzman Revel in the Absurdity of Domestication

Over the centuries, humanity’s relationship with wilderness has becoming increasingly fraught, as we continue to diminish natural green spaces in favor of roads, buildings, and manicured lawns. For Vashon Island-based artist Ariana Heinzman, our connection—or disconnection—to nature plays a central role in her vibrant ceramics practice.

For her current solo exhibition, Habitat for a Fake Plant at J. Rinehart Gallery, Heinzman (previously) conceived of a collection of quirky stoneware houseplants that sit on stools, irregularly shaped large-scale paintings, and decapitated-looking cuttings installed on the wall. These pieces interrogate the absurdity of bringing nature into human-made environments, examining how we have trained plants to acclimate to interior life.

an abstract ceramic sculpture of a flower on a blue stool that stands up on leaves resembling banana peels, with four blue and red blossoms
“Banana Split Plant” (2024), ceramic and underglaze, 28 x 14 x 10 inches. All images © Ariana Heinzman, courtesy of J. Rinehart Gallery, shared with permission

“In this world, plant-like sculptures are wrapped in patterns reminiscent of tablecloths and wallpaper,” the artist says in a statement for the show, emphasizing their domestic role. The specimens sprout leaves that are flattened to adhere better to flat surfaces, and the foliage assumes anthropomorphic poses, “lounging in this new environment where their purpose is decoration.”

If you’re in Seattle, you can stop by Habitat for a Fake Plant through August 28. Explore more on the artist’s website and Instagram.

an abstract ceramic sculpture of a flower on a blue stool
“Flower Blob” (2024), ceramic and underglaze, 19 x 13 x 4 inches
an abstract ceramic sculpture of a red flower
“Berry Wing” (2024), acrylic and ink on canvas, 35.5 x 43.5 x 3 inches
an abstract ceramic sculpture of a flower on a brown stool
“Rubbernecking” (2024), ceramic and underglaze, 21 x 21 x 15 inches
“Pinky” (2024) acrylic and ink on canvas, 41 x 47 x 3 inches
an installation view of ceramic sculptures on colorful stools and paintings installed on a gallery wall, with one wall painted teal
Installation view of ‘Habitat for a Fake Plant’ at J. Rinehart Gallery, Seattle

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Silhouettes and Surreal Drawings Echo Strife and Self-Preservation in Valerie Hammond’s ‘Dreamers Awake’

Silhouettes and Surreal Drawings Echo Strife and Self-Preservation in Valerie Hammond’s ‘Dreamers Awake’

According to Greek mythology, Daphne was the descendant of river gods. Born with a surging hunger for freedom and autonomy, the nymph committed herself to living a life rooted in solitude as she poured herself into deep passions like nature and hunting. Although Daphne devoted a great deal of time to exploring her tranquil surroundings, she eventually found herself in the chaotic throes of unrequited love as Apollo desperately sought to seize her for himself. One day, during a relentless pursuit in which Daphne was being chased by the Greek god, her only escape was to call her father for help, who subsequently transformed her into a laurel tree.

Narratives similar to this, symbolizing the adversity of self-preservation against burdening pressures set forth by powerful men, play a critical role in Valerie Hammond’s current solo exhibition Dreamers Awake.

While Hammond’s newest works imbue familiar themes of nature, spirituality, and strife, they also evolve from the artist’s ongoing interest in surrealism’s ability to address patriarchal narratives. “I found creative potential in its exploration of the unconscious and the uncanny, and I admired its attempts to liberate social conventions from conformist structures,” Hammond explains in the exhibition text. “I was especially intrigued by women’s involvement in surrealism, and their unique images of sexuality, vulnerability, violence, and rage.”

A feminine figure with billowing texture emerges from an amalgamation of wasp nests, wood, and paper in “Daphne 2,” alluding to the mythological tale while emphasizing the inextricable parallels between feminine plight and the metamorphic characteristics of nature. “Laurel” quite literally depicts the cost of self-advocacy, portraying Daphne’s fate as sprawling tree branches ascend from a pair of feet. Hammond’s ink pieces further draw upon the dissolution of feminine bodies, as inked silhouettes fade into landscapes behind them.

Dreamers Awake is on view at Pamela Salisbury Gallery in Hudson, New York until August 25. Keep an eye on Hammond’s Instagram for more updates and work.

a drawing on an indigo blue watercolor background depicting a deer with feathers in white ink
“Deer with feathers” (2024), ink and watercolor on handmade indigo paper, 25.5 x 27 inches
a gallery installation view featuring a sculpture of a standing figure on a pedestal in the center, surrounded by blue watercolor and ink drawings framed on the walls.
Installation view of ‘Dreamers Awake’
a sculpted figure stands with rippling texture made from a combination of wasp nests, wood, and paper. the figure's hair resembles a tree branch.
“Daphne 2” (2024), paper, wasp nest, and wood, 68 x 12.50 x 11 inches
a sculpture features two feet with rippling organic texture made from wasp nests, paper, and wood. tree branch forms sprawl upward from inside the feet.
“Laurel” (2023), hornets nest, paper and wood, 65 x 30 x 24 inches
a drawing on an indigo blue background depicting a cat in white ink
“Cat” (2024), ink and watercolor on handmade indigo paper, 18.5 x 25.5 inches
a drawing on handmade indigo blue paper depicting a fox in white ink
“Fox” (2024), ink and watercolor on handmade indigo paper, 2024, 18.5 x 25.5 inches
the midsection of a body and one arm sculpted from a combination of wasp nests, wood, and paper. it has a rippling, organic texture.
“Venus” (2024), paper, wasp nest, and wood, 68 x 12.50 x 11 inches
a red ink drawing depicts an owl perched atop tall silhouetted stalks of flowering plants.
Untitled, (2024), ink on Japanese paper, 72 x 39 inches
a drawing on an indigo blue watercolor background depicting an owlmoth in white ink
“Owlmoth III” (2024), ink and watercolor on handmade indigo dyed gampi paper, 18.5 x 25.5 inches
a drawing on an indigo blue watercolor background depicting a feminine figure standing atop a deer with feathers, holding an owl in black ink
Untitled, (2024), ink and watercolor on Japanese indigo paper, 76 x 40 inches
a red ink drawing depicts a bird soaring above atop tall silhouetted stalks of flowering plants as a cat rests below.
Untitled, (2024), ink on Japanese paper, 72 x 39 inches

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Petah Coyne’s Wax Sculptures and Installations Vacillate Between Beauty and Monstrosity

Petah Coyne’s Wax Sculptures and Installations Vacillate Between Beauty and Monstrosity

Each week, Petah Coyne reads two or three books. Along with film and the natural world, literature has had a profound impact on the artist throughout her decades-long career, as she references Flannery O’Connor, Zora Neale Hurston, Zelda Fitzgerald, and numerous other women in her works. Coyne gravitates toward texts rooted in feminist principles, which she then puts into conversation and filters through large-scale sculptures and installations.

Dichotomies flourish in the artist’s practice as she suspends silk bouquets in specially formulated wax, dipping the vibrant blooms in a molten wash and often displaying them upside down. Many pieces capture the tension between preservation and loss and beauty and monstrosity, particularly as they relate to the complexity of women’s lives. The combination of myriad materials furthers this contrast, as the artist pairs luscious silks with paper towels, soft velvet with nuts and bolts, and shackles with woven tassels.

a large round floral sculpture in pinks and purples that hangs from the ceiling from a satin rope. individual petals gather on the floor beneath
“Untitled #1074” (2002), specially-formulated wax, pigment, silk Duchesse satin, silk flowers, tassels, chicken-wire fencing, wire, metal basket, 5/16-inch 30 Grade proof coil chain, quick-link shackles, paper towels, jaw-to-jaw swivel, cable, cable nuts, 36 x 31 x 24 inches

Installations like “Untitled #1103 (Daphne)” and the later “Untitled #1181 (Dante’s Daphne)” wind spindly branches, flowers, and artificial taxidermy around an undulating chicken wire armature. Sprayed with black paint, the dark, ominous works appear alive, as if crawling across the gallery to catch prey. The titles reference the Greek myth and the nymph who was turned into a laurel tree after attempting to escape Apollo’s unrequited love.

Similarly dynamic works include “Untitled #1379 (The Doctor’s Wife),” which features hand-sewn Venetian velvet in sumptuous mounds of navy and black. The work shares a name with a 1966 novel by Sawako Ariyoshi, which fictionalizes the real story of a Japanese surgeon pitted between his wife and mother. As two statutory figures rise from the roiling mass, the artist stitches together a tapestry of conflict, forcing the pair to face off while the third player in the dispute remains unseen.

Championing women has always been an integral part of Coyne’s practice and life. In addition to her sculptural works, the artist is a longtime collaborator with the anonymous feminist collective Guerilla Girls. She and photographer Kathy Grove are behind a series of documentary portraits of each original member, creating an art historical record of the activist group.

Coyne will open a large solo show titled How Much a Heart Can Hold at the Chazen Museum of Art in Madison this September, which will travel to the Neuberger Museum of Art in Purchase, New York, and Lowe Art Museum in Miami in the following years. Her works will also be included in several group exhibitions this fall, including at Grounds for Sculpture, Frost Art Museum, and Lehman College. Until then, explore Coyne’s vast oeuvre on her website and Instagram.

“Untitled #1103 (Daphne)” (2002/2003), mixed media, 78 x 79 x 73 inches
a large suspended black wax sculpture with dozens of tassels hanging from the center. similar works in white and blush are in the background
“Untitled #819” (1995), specially-formulated wax, pigment, silk Duchesse satin, tassels, chicken-wire fencing, wire, 3/8-inch Grade 30 proof coil chain, quick-link shackles, jaw-to-jaw swivel, cable, cable nuts, Velcro, thread, paper towels, plastic, 66 3/4 x 42 x 36 1/2 inches
a white sculpture of flowers and wax drips all covered in wax and sitting in a a steel vitrine
“Untitled #1378 (Zelda Fitzgerald)” (1997-2013), specially formulated wax, pigment, silk flowers, candles, paint, white pearl-headed hat pins, artificial pearl strands, cast-wax statuary figure, cast-wax hand sculptures, ribbon, knitting needles, steel rods, chicken-wire fencing, washers, fabric, thread, wire, horsehair, Masonite, plywood, drywall, plaster, glue, filament, rubber, steel, wood and metal screws, maple, laminated Luxar, 81 3/16 x 35 3/4 x 35 3/4 inches. Photo by Christopher Burke Studio
a sprawling installation of black, navy, and deep purple wax that appears to roil across a deep charcoal platform. several round sculptures hang in the background
“Untitled #1379 (The Doctor’s Wife)” (1997-2018), specially formulated wax, pigment, silk flowers, silk/rayon velvet, tassels, cast wax statuary figures, human hair, black pearl-headed hat pins, wire, thread, felt, cotton batting, chicken wire fencing, wood, Masonite, steel, acrylic paint, nails, bolts, screws, washers, wing nuts, latches, 3/8-inch Grade 30 proof coil chain, cable, cable nuts, shackles, Velcro, plastic, 96 x 193.5 x 97.5 inches. Photo by Christopher Burke Studio
a white woman with a short gray bob and black clothing touches a suspended sculpture of florals covered in white wax. other bouquets sit on the floor in the studio with similar wax covered works suspended upside down
Preparation of the ‘Color of Heaven.’ Photo by Júlia Standovár

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Marc Quinn’s Monumental Flowers Invite Us to Reflect Upon Our Evolving Relationship with Nature

Marc Quinn’s Monumental Flowers Invite Us to Reflect Upon Our Evolving Relationship with Nature

From bronze, chrome, and silicone, Marc Quinn’s larger-than-life botanicals emerge with delicate precision. The exhibition Light into Life at Royal Botanic Gardens Kew in London continues the artist’s exploration of the boundaries between the natural and artificial, the living and non-living, sexuality, and the passage of time.

Quinn often uses a mirrored effect to literally reflect humanity in nature while blurring the lines between the work and its surroundings. In others, he emphasizes the heft, history, and scale possible with bronze. For example, “Held by Desire (The Dimensions of Freedom)” and “Burning Desire” tap into the metaphorical association of flowers to human biology and anatomy, their titles emphasizing emotional parallels, like the precise tension of a carefully tended bonsai or the supple petals of a red, sensual orchid with yearning.

a woman looks up at a larger-than-life bronze sculpture of a bonsai inside a Kew Gardens space
“Held by Desire (The Dimensions of Freedom)” (2017-2018). Photo by Ines Stuart-Davidson

Orchids, bonsai, and tropical flowers provide the starting point for Quinn’s remarkable sculptures that emphasize permanence and in a realm that relies on the opposite: changing seasons, weather patterns, and visiting pollinators. He confronts the ephemerality of blossoms and leaves by casting their likenesses at a monumental scale in metal, freezing blooms to preserve the zenith of their beauty, or immersing entire bouquets in silicone oil to indefinitely sustain their vibrancy.

Light into Life continues through September 29. Explore more of the artist’s work on his website.

a larger-than-life chrome-coated bronze sculpture of an orchid on a lawn with trees and a classical building in the background
“Light into Life (Photosynthetic Form)” (2023)
a monumental bronze sculpture of a red orchid on the lawn of RBG Kew in London
“Burning Desire” (2011)
a floral cooler with two bouquets inside, each suspended inside silicone oil to preserve their freshness
“Eternal Spring (Cultural Evolution)”
a larger-than-life sculpture of an orchid inside a greenhouse, surrounded by tropical plants
“Light into Life (The Release of Oxygen)” (2023)
a bouquet of calla lilies in a simple vase, frozen solid inside of a plexiglass case
“Human Nature” (2024)
a woman stands with her back to us, viewing a larger-than-life outdoor sculpture of a tropical flower with numerous long, spiky petals
“Event Horizon (Sabal)” (2024). Photo by Ines Stuart- Davidson
a mirrored sculpture in a green landscape depicting the outline of a Himalayan Mayapple
“Our Botanic Selves, Himalayan Mayapple”

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Insects Inhabit Blooming Floral Worlds in ‘Umwelt’ by Yoshiyuki Katayama

Insects Inhabit Blooming Floral Worlds in ‘Umwelt’ by Yoshiyuki Katayama

Yoshiyuki Katayama captures the ineffable qualities of nature and time in her ongoing series Umwelt (previously), which traces myriad relationships between insects and flowering plants.

The title takes its name from an ethological concept that uses the German word “umwelt,” usually translated to “self-centered world,” to describe how animals experience their surroundings. Through elegant timelapses of unfurling blossoms, Katayama composes portraits of hostas and gerberas inhabited by colorful six-and eight-legged creatures that, thanks to some great editing, move in real time.

Find more on the artist’s website and Instagram.

a still from a short timelapse film showing two spiders on a large, light yellow gerbera blossom against a black background
All images © Yoshiyuki Katayama
a gif from a short timelapse film showing an orange and black insect crawling up a blossoming violet hosta flower set against a black background

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Mothers & Cubs: Spectacular Grizzly Photos from Alaska Adventures

Few things are more powerful than witnessing the bond between mother and child—or in this case, cub! In the wilds of Alaska, travelers will observe and photograph fascinating bear behavior and will be treated to affectionate displays between protective mothers and playful cubs. This rarest of encounters can be had on our Alaska Bear Quest Photo Expedition—the ultimate bear photography safari! While you dream of adventure, enjoy this roundup of some of our favorite photographs of brown bear mother and cubs, taken by Nat Hab travelers and guides along the remote coast of Katmai National Park. Also featured are some stellar submissions from our Wildlife Photo Contests of years past.

Nat Hab travelers with brown bears in Alaska.

© Alek Komarnitsky

A brown bear with three cubs in Alaska.

© Peter Norvig

Brown bear cubs nurse in Alaska.

© Alan Jones

Brown bear cubs clutch their mother in Alaska.

© Peter Derrington

A cub plays in the water in Alaska.

© Peter Derrington

A brown bear mother and cub

© Jennifer Fogle Smith

A brown bear cub nuzzles its mother in Katmai National Park.

© Peter Norvig

Brown bear cubs waiting for their mother in Katmai.

© Benjamin Spalding

A brown bear mother with cubs in Alaska's Katmai National Park.

© Doug Beach

Two cubs play in the water in Alaska.

© Peter Norvig

A brown bear stares down the photographer in Katmai National Park.

© Peter Norvig

Brad Josephs, one of Nat Hab’s Photo Pro Expedition Leaders, was among the first bear-viewing guides along the Alaska Penisula. Below is a selection of some of our favorite photographs he has taken of brown bear mothers and cubs in Katmai National Park during his decades of experience guiding travelers, professional photographers and film crews. You can also check out Brad’s Daily Dose of Nature, Photographing Bear Behavior: Mothers & Cubs.

© Brad Josephs

A mother bear with playful cubs in a flower field.

© Brad Josephs

A cub strikes a pose among the lupines in Katmai National Park.

© Brad Josephs

A mother bear with cubs on the tidal flats in Katmai National Park.

© Brad Josephs

A brown bear and cub walk along the tidal flats in Alaska.

© Brad Josephs

A wolf and brown bear encounter in Katmai National Park.

© Brad Josephs

Playful bear cubs with a mother bear in Katmai National Park.

© Brad Josephs

Playful bear cubs with a mother bear in Katmai National Park.

© Brad Josephs

Playful bear cubs with a mother bear in Katmai National Park.

© Brad Josephs

Feeling inspired? Watch our Daily Dose of Nature on how to photograph mothers and cubs, and start planning your photo adventure!

The post Mothers & Cubs: Spectacular Grizzly Photos from Alaska Adventures first appeared on Good Nature Travel Blog.

Striking New Prints from Tugboat Printshop Reflect on the Mysteries of Nature and Mythology

Striking New Prints from Tugboat Printshop Reflect on the Mysteries of Nature and Mythology

For Valerie Lueth of Tugboat Printshop, the final piece is only one stage of the painstaking yet satisfying process of making woodblock prints. The works emerge from meticulous planning and carving of numerous blocks, which the Pittsburgh-based artist layers on top of one another to achieve a variety of colors, patterns, and striking contrasts.

One recent print “Reflecting Narcissus,” depicts five daffodils reflected in a pool of water. The composition references the Greek mythological character, Narcissus, whose beauty and youth were admired by everyone who looked upon him, even though he didn’t love anyone. That is, until he saw his own reflection in a pool and fell deeply for his image, pining away until he died and was transformed into a flower named for him.

a woodblock print depicting five daffodils reflected in a pool of water
“Reflecting Narcissus”

Lueth (previously) is known for creating detailed prints that call on the beauty of nature and folklore, and she revels in the process behind each work, which you can explore more in-depth on her website. She was recently featured in issue 25 of the printmaking magazine Pressing Matters and has two prints currently available for pre-order, including “Ladder Tree,” shown below.

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woodblock carving in progress of daffodils, shown on a work table with tools and held up by the artist's hand
“Reflecting Narcissus” woodblock in progress
two side-by-side images, showing a woodblock of daffodils with yellow and blue ink on it (on the right) and the print made from the block (on the left)
Left: One color block for “Reflecting Narcissus.” Right: The first layer of the print
a print of a tree being pulled from a woodblock
“Ladder Tree” in progress
two side-by-side images of a raindrop print (on the left) and the woodblock that the print was made from (on the right)
Left: “Raindrops.” Right: The woodblock in progress for “Raindrops”
a woodblock carving of a tree with green ink rolled onto it
“Ladder Tree” block
a detail of a woodblock of a leafy tree with a few branches shaped like a ladder
Detail of “Ladder Tree” block

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