ECO Art + Science Series: Metalsmith + Entomology Enthusiast Charity Hall

Entomology Collection. Copper, enamel. Image © 2008 by Charity Hall. Used here with permission of the artist.

Welcome to the first ECO Art + Science Series post of 2012! Today, I’m excited to feature the first metalsmith and jeweler in the Series: Tucson-based artist-scientist Charity Hall, who creates enameled works of art that are grounded in her fascination with botanical and entomological imagery. Her art-science collaborations with entomologist Paul Marek are sensational examples of art-science crossover that truly advance both fields in creative and mutually-beneficial ways.

 “With my passion for botany extrapolated outward to entomology, I create enamel and metalwork pieces with biological imagery. My botany loupe became my stone-setting loupe, and a few more tools have been acquired. My work as an artist is based on the tiny intricate details and fascinating biological stories that first captivated me.” – Charity Hall

[biocreativity] Welcome to the biocreativity blog, Charity! What type of work do you do? How would you describe your interests or profession?

[CH] I am a metalsmith and enamelist who makes jewelry inspired by biological forms. I’ve created a lot of enameled jewelry and bowls that depict different insect species. In some of my jewelry, I use actual insect specimens-or pieces of them by embedding these in clear resin. Recently, I’ve been making sculptural jewelry based on abstracted invertebrate forms (everything from radiolarians to articulated insect legs).

Kissing Bug Brooch. Copper, enamel, garnet. Image © 2011 Charity Hall. Used here with permission of the artist.

[biocreativity] Where do you see yourself on the biocreativity spectrum?

[CH] I feel a bit polarized on both ends. I have a bachelor’s degree in biology from Colorado College (I majored in biology, but they had a very nice Arts and Crafts program and Dindy Reich taught me my first metalworking skills there) and have worked professionally as a botanist for the U.S. Forest Service, although that was awhile ago. I also have a Master of Fine Arts in metal design from East Carolina University. I am a full-time artist now, so I guess I’m more on the arts end currently. But, I also help my entomologist husband [University of Arizona research associate Paul Marek] with field work. In fact, we just came back from 5 nights of collecting millipedes in northern California. Last year, I cast a millipede in bronze to make a press mold for making hundreds of clay millipede models for one of his research projects which is described in this article on Discover blogs.

Paul Marek made hundreds of clay millipede models for a research project examining the function of bioluminescence in millipedes using a bronze cast of a millipede made by Charity Hall. Image © 2011 by Paul Marek. Used here with his permission.

[biocreativity] To summarize, the clay millipedes were used to help discover why Moytoxia millipedes glow in the dark! Half were painted with glow-in-the dark paint, half were not, then they were left in the forest overnight. About half as many glow-in-the-dark models showed evidence of attacks by predators (mainly rodents) as the unpainted ones, leading researchers to conclude that bioluminescence in this species lends protection from predators! Charity, that is a fascinating research project and a great example of art-science collaboration for field work. That is relatively rare since such collaborations are often focused on the final product of the research: the results. How do you view the interaction of arts and sciences?

[CH] Art and science are surprisingly similar in many respects. In both fields, the work is largely based on observation, creativity, analysis, and drawing conclusions that inspire the next project. If we got rid of labels to designate one person a scientist and another an artist, we might find more opportunities for crossover and could benefit from the skills of each other more readily. As artists, we are constantly working with our hands, developing a skill set and a mindset that makes it easy for us to build things. But that ability to build stuff is remarkably important for scientists too. There is always some jig or specialized piece of equipment (maybe it’s a special insect trap or collapsable terrarium) that they need which might not yet exist or perhaps does, but needs to be modified. I remember helping with an insect collecting project once, but the scientist leading it had forgotten to bring the collecting nets. I just took apart some old wire hangers and used some netting to construct a makeshift net. It wasn’t pretty, but it worked.

Katydid Pendant. Copper, enamel. Image © 2009 by Charity Hall. Used here with permission of the artist.

[biocreativity] That is very true. When I was working on my dissertation research, my lab-mate and I often joked that we should also be getting a “Master’s in Fabrication” because we were always building new contraptions for our field and lab work. Interestingly, the Association of Art Historians just released a call for papers today for a conference entitled The Two Cultures: Visual Art & Science c. 1800-2011, which will challenge the assertion that the visual arts and sciences are separate entities. Charity, what inspires your work?

[CH] I’ve always been fascinated by insects and other biological species. When I was in college, I loved botany and collected plant specimens for my college’s herbarium (basically a museum of dried, pressed plants).  Occasionally out in the field, I would witness these dramatic scenes…a bug attacking another and eating its head while it was still alive…or I would notice the tiny insects back in the lab while identifying the plants and seeing them under the microscope looking absolutely monstrous on leaves and flowers. Maybe its because I’ve never studied insects scientifically that I find them so fascinating.  I love their forms, from their tiny intricate leg hairs to their articulation in their joints.

Dobsonfly Belt buckle. Copper, enamel, silver, garnet. Image © 2009 by Charity Hall. Used here with permission of the artist.

At the same time that I studied botany, I started illustrating plant specimens and dabbling in metalwork.  It took a long time to realize I wanted to become a professional artist.

Moss o menos. Copper, enamel. Image © 2006 by Charity Hall. Used here with permission from the artist. Collection of Gail Brown. All proceeds for this piece benefitted Oxfam to assist the victims of the Myanmar cyclone.

[biocreativity] I love the botanical illustrations on your enamel work – especially the Moss o Menos pieces. I also have a lot of entomologist friends who would love to get their hands on that Dobsonfly belt buckle! What is the most important thing that you want others to know about you and your art-science work?

[CH] I’m an artist, but I’m also a collector. I collect insects, rocks, fossils, and anything else that seems useful. Mostly, I collect stuff for inspiration or sometimes to embed in resin. I am lucky that some of my friends collect things for me too (mostly dead insects and parts thereof). I’m always surprised by what I receive from friends who seem like they’d be too squeamish to collect dead bugs.

I hiked in the Appalachians during one of the huge cicada explosions and there were dozens of dead cicadas on the forest floor. Their wings are beautiful (and the birds don’t eat the wings anyway), so I carefully removed the wings off of several of them. With some of them, I roll-printed them onto sheet copper (sending them through a rolling mill -2 steel rollers kind of like a deluxe pasta machine), and the impressions of the veins were forever preserved onto the metal.

Cicada Wing Necklace. Image © 2011 by Charity Hall. Silver, cicada wing, yellow sapphire, resin. Used here with permission of the artist.

[biocreativity] Tell us more about your Metalbug series, which quite literally puts insects into your jewelry.

Metalbug is a collection of jewelry with real insect specimens. Many of these pieces are available for sale at my Metalbug Etsy store. These insects were humanely collected mostly in and around Tucson, Arizona. Occasionally, I also collect specimens when I travel.

Beetle Legs Necklace. Silver, resin, beetle legs, cz. Image © 2011 by Charity Hall. Used here with permission of the artist.

[biocreativity] What is the most common question or comment you get about your work?

[CH] “How do you make your work?” I use a variety of metalsmithing tools, including torches, hammers, and anvils.  Many of the techniques I use are the same techniques that metalsmiths have been using for centuries.  I like the continuity and traditions of craft, but I also use contemporary processes.

My starting material for the enameled bowls is a 6″ disc of copper sheet.  Using hammers and a rounded stake (looks like a trailer hitch), I pound the metal into a depression carved out of an old stump until it is shaped like a bowl.  Then I clean the bowl and apply a coat of liquid-based enamel, allow it to dry, and then freehand draw the design (in this case drawing=literally scratching through the enamel to get to the bare copper. This enameling technique is called sgraffito. Once the design is done, the bowl is fired at about 1500degrees F, a second coat of clear enamel (in this step, the enamel is in a powdered form) is applied and the bowl is re-fired, but for a shorter time  just until the clear enamel starts to fuse to the base layer. This is how I maintain the grainy, matte surface which is very different than the smooth surfaces of traditional enamels.

Tailless Whip Scorpion Bowl (detail). Copper, enamel. Image © 2007 by Charity Hall. Used here with permission of the artist.

For the enameled brooches, I enamel copper in more or less a similar way and fabricate the settings. My starting materials are only sheet, wire, or tubing. Everything else is formed (again with hammers), cut (with a manual jeweler’s saw) and soldered by hand.  (and of course there is a lot of filing and sanding too). The Metalbug series are pieces that incorporate real insect parts or entire specimens. The fabrication part is the same as the other pieces. The only difference is that I mix clear resin to use to embed the insect parts in place.

Rainbow Beetle Earrings. Silver, Copper, enamel, garnet. Image © 2011 by Charity Hall. Used here by permission of the artist.

[biocreativity] What’s next for you in art + science? 

[CH] Right now, I’m actively working on this new series of sculptural jewelry. Imagery in this series includes the articulation of insect legs, the dogged march of a millipede, radial patterns in unicellular life, and diurnal states of being. This body of work will be showcased in a solo exhibition at the Penland Gallery this August/September.

“A millipede crawling upon your hand feels halfway between barely noticeable and lightly tickling. You can feel the overall sensation of movement, but not the individual legs so delicately fragile on your callused metalsmithing hand. But if you existed on the same scale as a millipede and had it walking upon you, I imagine it would feel quite different; its legs formidable, with the tips digging as it marches doggedly along.” -Charity Hall

Metallodesmus trigintaduopes. Image © 2011 by Charity Hall. Used here with permission of the artist.

[biocreativity] I really love the glow-in-the dark pieces from this new series:  Lumenorbis and Radialaris! Are those inspired in some part by your husband’s research on bioluminescense in millipedes?

[CH] Sort of, but mostly just in the material. He needed a really high quality glow substance for his clay models and gave me a little bit of it to play with. The forms of these 2 pieces are not really about millipedes. Although the piece, Metallodesmus trigintaduopes, is based on a wandering millipede.

Lumenorbis. Images © 2011 Charity Hall. The background of this piece glows in the dark. Used here with permission of the artist.

Radialaris. Image © 2011 by Charity Hall. The center of this piece glows in the dark. Used here with permission of the artist.

[biocreativity] Your collaborations with your husband are truly great examples of how art and science can be mutually beneficial to one another. Do you have any websites that you’d like the biocreativity readers to know about? I hear you also teach classes. 

www.charityhall.com features my work, upcoming events including shows, classes and workshops I’ll be teaching and more links to my favorite websites. I will be teaching a class on making brooches for the Idyllwild Metals Week program through Idyllwild Arts in California. 

www.metalbug.etsy.com is my Etsy store where my Metalbug series, and other works, are for sale.

www.apheloria.org is my husband’s website on millipedes.

[biocreativity] Charity, thanks so much for participating in the ECO Art + Science Series. I’ve really enjoyed getting to know you and your work! 

The biocreativity blog’s ECO Art + Science Series illustrates the many ways in which artists and scientists are combining their talents in the modern world. Stay tuned for more interviews each week right here at www.biocreativity.wordpress.com! If you or someone you know should be featured in this series, please send an email to biocreativity@yahoo.com. 

Federal Art Project Depression-Era Posters

I just came across a great Mental Floss article by Jill Harness about a series of Depression-era zoo posters that helped put unemployed Illinois and Pennsylvania artists to work under President Roosevelt’s Works Progress Administration. These striking graphic posters were intended to promote local zoos during the Depression and they provide a great introduction to a fascinating bit of American art history and an initiative that produced a large body of biocreative works: the Federal Art Project.

Visit The Zoo. Federal Art Project, Pennsylvania, between 1936 and 1941. Creator: Not attributed. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

The founder of the Federal Art Project – Pennsylvania artist George Biddle - believed that the Project had, “a more invigorating effect on American art than any other event in the country’s history.” Indeed, the Project that ran from 1935-1943 is believed to have spawned well over 200,000 works of art including public murals, posters, sculptures and paintings at a time when thousands of American artists were out of work.. The Library of Congress hosts the largest collection of these posters (over 900 of them), many of which you can view in the Prints and Photographs Online Catalog (PPOC)Interestingly, because these works were created by public funds and are now in the public domain there are currently no restrictions on publication of these posters. Thus, there are now several sources for purchasing reproductions, including the Library of Congress Shop and Vintagraph. Also of interest is that the descriptions of the posters in the LOC shop is a little more comprehensive than in the PPOC. 

The WPA posters covered a variety of themes from health and safety, promotion of travel, American culture and the arts and war-time messages. There are also several biocreative themes within the WPA posters including the above-mentioned zoo posters from the Illinois and Pennsylvania WPA/FAP, a set of prints from the New York City WPA/FPA that promoted domestic travel, the National Park Service and wildlife conservation. A beautiful but brief series from the Ohio WPA/FAP promoted natural resource conservation of trees, wildflowers and parks.

Pennsylvania + Illinois Works Project Administration / Federal Art Project

(1936-1937)

Visit the Aquarium in Fairmount Park. 1937. Woodcut Poster. Creator: Robert Munchley. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Visit the Brookfield Zoo FREE Thursday, Saturday, Sunday. 1936. Creator: Carken. Work Projects Administration Poster Collection (Library of Congress).

Visit The Zoo. 1937. Woodcut poster. Creator: Hugh Stevenson. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Visit Brookside Zoo Free. 1937. Creator: Carken. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

New York City Works Project Administration / Federal Art Project

(1936-1939)

The National Parks Preserve Wildlife. 1939. Creator: J. Hirt. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Wild Life: The National Parks Preserve all Life. 1939. Creator: Frank S. Nicholson. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Don't Kill Our Wild Life. 1940. Creator: John Wagner. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Birds Of The World. 1939. Creator: Sidney Jacobson. Poster advertising WPA Federal Writers' Project illustrated guide to natural history of birds of the world. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Grand Canyon National Park: A Free Government Service. 1938. Creator: Unattributed. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Ohio Works Progress Administration / Federal Art Project

(1937-1938)

Spare Our Trees. 1938. Creator: Stanley Thomas Clough. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Let Them Grow. 1938. Creator: Stanley Thomas Clough. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

One of the most fascinating, and surprising posters I came across in the collection was this one from NYC WPA/FAP promoting syphilis awareness. Before I read the text, I thought it might be promoting a visit to a natural history museum:

As Old As Creation: Syphilis Is Now Curable. 1937. Creator: Unattributed. Part of the Work Projects Administration Collection housed in the Prints and Photographs Division of the Library of Congress.

Is it time to revisit the FPA?

The Federal Arts Project produced some of the most iconic and recognizable artistic bodies of work in American history. It seems to me like a good program to revisit in our current economic environment, to support struggling artists, promote conservation of natural resources and travel to National and zoological parks. Re-instituting the FAP would also allow us to  re-examine our national and cultural identity in the 21st century. Until that happens, take some time to enjoy these national treasures from the Library of Congress.

Nominations Open for 2012 Bloggie Awards

The nomination period for the 12th Annual Weblog Awards (AKA the “bloggies”) is currently open. If any of you readers want to nominate, say…..your favorite biocreative blog….well, feel free! There are some great art-science blogs out there, including those listed on the right-hand side of this page.

The deadline for nominations is January 15th. http://2012.bloggi.es/

A New Lorax for a New Year

I hope all you readers have had a very good first week of 2012! In keeping with the New Year’s themeresolutions to consider and hope for good things to come this year I thought Dr. Seuss’ The Lorax would be a fun topic to visit this New Year season.

I just found out that Universal Pictures is releasing a computer animated version of The Lorax in March 2012. It’s always tricky when someone makes your favorite book into a movie. On the one hand: you love this book, wouldn’t it be fantastic to see it on the big screen? On the other hand: what if filmmakers just don’t get it “right” (not to mention Hawley Pratt’s 1972 old-school animated version of The Lorax is already pretty good). With a story like The Lorax, one has to be skeptical of a hugely for-profit film industry setting out to re-tell one of the most poignant environmental tales of the 20th century, right? Well, we’ll see.

Even though Seuss’ book was published in 1971, overexploitation of our world’s natural resources is just as rampant today, if not more so. So, even though I dread what could go wrong in the re-telling of The Lorax, maybe exactly what we need in 2012 is a remake of this film for a new generation.

This book means a great deal to me, as I’m sure it does to many of you readers. In part, it inspired me to pursue a career in conservation. Or, at the very least it’s message galvanized me to do my part to help protect the environment from Once-ler’s of the world, to use my science as the tool with which I could translate the messages (typically interpreted through ecological patterns in population size, animal behavior or distributions) of creatures who cannot speak for themselves in our language. Fortunately, there is a slew of modern-day, real-life Loraxes (or maybe Loraxi?) out there, many of whom aim to bring awareness to deforestation and other natural resource exploitation through their art. 

Deforestation Art: Speaking for the Trees

It’s a challenge to find much Lorax-inspired art that’s not an original work of Seuss himself, but I did come across this lovely print by Mt. Pleasant Press over on the BB-Blog:

Found this great Lorax-inspired print over on http://bblinks.blogspot.com/2009/11/i-am-lorax.html (c) Mt. Pleasant Press

This clever advertisement for the World Wildlife Fund over on The Conservation Report blog quite literally makes the connection between our Earth’s life support systems and deforestation.

In a protest against deforestation in Iran, activists and artists created this very Once-lerian scene (covered here by Green Prophet):

Angela Palmer

The Iranian protest piece above is a great transition into the work of by UK artist Angela Palmer, who has quite literally tackled the theme of deforestation in her Ghost Forest Project. Her series of massive rainforest tree stumps from Ghana in West Africa have now been publicly installed in Trafalgar Square and Copenhagen and currently resides in Oxford. The installation is meant to bring awareness to the rapid rate of natural resource exploitation both in the tropics and worldwide. The website created around this project is impressive and provides information on the art, the artist, responsible forestry in Ghana and detailed descriptions of the seven tree species featured in the Ghost Forest Project.

Ghost Forest Art Project installation in Trafalgar Square.

Though the idea of “let’s display some tropical tree stumps” sounds simple, this incredible documentary short from The Ghost Forest Project describes the entire process that Angela Palmer went through to get these massive organisms to Trafalgar Square for their first exhibition. It’s incredibly inspiring and it sure packs a punch:

“The tree stumps were exhibited as a “ghost forest” in Trafalgar Square in London in November 2009, and then in Copenhagen in December during the UN’s Climate Change Conference. The Ghost Forest is now on the lawn of Oxford University’s Museum of Natural History and the Pitt Rivers Museum and will be there until July 2012. The trees are intended as ‘ambassadors’ for rainforest trees throughout the world.” – The Ghost Forest Project

Linda Kunik

Linda Kunik is a painter, photographer and installation artist whose work deals with environmental issues and globalization. Through her 2006 Deforestation and the Land series, Linda hopes to bring attention to both the beauty and the fragility of Earth’s landscapes. You can see more of her work at www.lindakunik.com.

Cicatriz, Acrylic on Panel. (c) 2006 Linda Kunik, http://www.lindakunik.com. Used here with permission of the artist.

“Cicatriz is a painting I did about deforestation in the Altiplano of Bolivia. Cicatriz means scar in English. In this part of the Altilplano,they are deforesting in order to build these developments which grow radially, then a road is built and another development is planned and constructed.  I found photographs of these developments on the internet and created this abstract/representational image.” -Linda Kunick

Ian Trask

These rolled linen art pieces by New York artist Ian Trask quite clearly evoke images of deforestation and are created from discarded fabric scraps. You can see more of these amazing rolled fabric sculptures on Ian’s website www.forkartist.mosaicglobe.com.

Deforestation Fine Arts (c) Ian Trask http://forkartist.mosaicglobe.com/

“As a sculptor, [Ian] explores the inherent aesthetics of material waste.  He argues that one of modern civilization’s greatest tragedies is the abundance of waste that results from an out-of-control, consumptive materialism in an industrially advanced global marketplace.   By choosing trash as his medium [Ian] reduces the material demand he places on his own immediate environment while also suggesting to his viewers the importance of redefining how we look at our waste.”

MARIAN OSHER

Much of printmaker and painter Marian Osher’s art explores human relationships with each other and with nature. Marian also curates a great list of links to eco-art related organizations on her website and discusses eco-art on her blog marianosher.wordpress.com.

Lost Mountain, Monotype Print © 2007 by Marian Osher. Used with permission from the artist. http://www.marianosher.com

“My art also allows me to share my continuing exploration of universal connections between human spirituality, the non-human animal world and harmony with the environment. Since 2000 I have chosen to create monotypes, monoprints, and paintings using water-soluble environmentally friendly media.” – Marian Osher

Renewal + Hope for the Future

While it is certainly important for us to be aware of the problems of deforestation, I think it’s also very important to understand what we can do about it. One of my favorite messages from The Lorax is about hope for the future and the possibility for renewal. This is a very New Year’s kind of message, but it’s not just for fiction! In real life, rehabilitation and reforestation of ecosystems is a very large and important branch of the field of ecology and some amazing things have been done in this field! Some of my very early scientific research was focused on assessing reforestation efforts in Hawaiian rainforests that were cleared in the past for cattle ranching. Some of my dissertation research involved a lot of aquatic restoration activities to improve habitat for the endangered Barton Springs Salamander. For more examples, I encourage you to visit the Society for Ecological Restoration‘s Restoration Project Showcase, which displays some really amazing before and after photos of restoration sites. Here are a few artists whose restoration-themed work gives me hope for the New Years to come:

EMILY CARR

One of the earliest representations of reforestation in art I could find was Canadian artist Emily Carr’s 1936 oil painting entitled Reforestation which is currently housed at the Vancouver Art Gallery.

Reforestation by Emily Carr, 1936. (c) Vancouver Art Gallery

Marian osher

Marian’s work not only brings awareness to deforestation and loss of habitat issues, but her 2007 print Regeneration speaks to the very Loraxian hope of recovering from deforestation with time and patience.

Regeneration, monotype print © 2007 by Marian Osher. Used with permission from the artist. http://www.marianosher.com

James Sutherland

In his 2002 series Enchanted Trees Reforestation, Seattle artist James Sutherland portrays portraits of trees in these colorful painted carved plaster panels. You can see more of these on his website www.jameswsutherland.com. James told me a great story about how these works got their name:

Left to Right: Rigol, Rammus, Eldendeb, Lufkap, Onaneb. Painted, carved plaster panels. (c) 2002 James W. Sutherland. Used here with permission of the artist. http://www.jameswsutherland.com/index.html

“The title of my “Reforestation” exhibit came about in late 2002 after my first exhibit of 25 “Enchanted Trees” sold out on opening night. Since folks (patrons) were interested in having their newly purchased artwork, I got to work on 25 or so “replacement” pieces, in order to fulfill my agreement to keep a full exhibit hanging at the cafe. Since I needed to replace the Forest, I decided to call the exhibit of new work “Reforestation” ” – James Sutherland

Rick Crane

I came across Rick Crane’s Reforestation print on his shop on society6.com. I absolutely love the graphic simplicity and repetition of the trees across the landscape, which reminds me a lot of Charley Harper’s Octoberama. To me, it portrays the great amount of healing healing that can be accomplished, even by a single person person, to help restore ecosystems one step at at time.

Reforestation (c) Rick Crane. Prints available from http://society6.com/rickcrane/prints.

The Lorax + 40 Years of Education

2011 marked the 40-year anniversary of the publication of The Lorax, and several Lorax-related modernizations have hit the web in recent years. Seussville.com’s The Lorax Project, for example, is a collaboration between Conservation International, Dr. Seuss Enterprises and Random House Publishing to help raise awareness of forest ecology and conservation worldwide. You can also download The Lorax eBook and the Lorax Garden game for your i-devices. Though, given my call back in July for more educational and ecologically relevant i-things, the game certainly lacks the ecological message I was hoping for. Even the academics have joined in the fun of the 40th anniversary of the publication of The Lorax. In an August 2011 article in Nature, Emma Marris discusses the policy implications of the book 40 years after its publication.

So, my New Year’s message for you is my favorite quote from The Lorax, and maybe my very favorite quote from all of literature:

“Unless someone like you cares a whole awful lot, nothing iss going to get better. It’s not.” - The Lorax

Happy New Year!

best of biocreativity 2011

Happy New Year! I’m so thankful to have been able to start this blog in back in June 2011 and just wanted to take a look back over the past six months of posts to see what your favorites have been. Here they are, the top 10 posts on the biocreativity blog in 2011:

10. ECO Art + Science: Sculpture of Ecologist Gary Grossman

9. ECO Art + Science: Printmaker Lisa Studier

8. Endangered Species Condoms

7. snake week art!

6. ECO Art + Science: Photography of Plant Ecologist Kurt Reinhart

5. ants in my pants | title image august 2011

4. ECO Art + Science: Illustrator + Wildlife Biologist Kevina Vulinec

3. biocreativity at esa 2011

2. the art of fire

1. ECO Art + Science: Scientific Illustrator Emily M. Eng

Numbers 1 and 2 were separated by only seven hits, making them nearly a tie, but Emily’s post came out on top. Stay tuned for more musings about art, biology, creativity, science, design and nature in 2012 and thanks for reading!