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(Enemion biternatum). Deep East Texas.
Last year Carolina and I discovered the 2nd known population of False Rue Anemone in Texas on private land. This year I returned with a team of botanists to survey the property.
We were rudely awoken at 8:30 for a false alarm. There was another at 10. Fortunately, I had the presence of mind to grab the camera for this shot. Lovely, no?
An American Airlines Airbus A320 disguised in now defunct US Airways colors. A flight to the spray booth perhaps?
This is NOT a butterfly! Although both butterflies and moths are members of the order Lepidoptera, there are differences that are sometimes subtle. Butterflies have club-shaped antennae while moths are feathered or saw-edged. Butterflies fly during the day while moths usually are active at night. It's hard to see the antennae on this False Crocus Geometer moth and it was found during the day.
Curious to see the inside of this cut fruit? Click below for the descriptions and more photos of this fruit
Vancouver False Creek reflections...A clear sky in January provides the perfect angle for the sun to reflect off the downtown condos and create a great scene over False Creek and Granville Island
The sun sets over False Kiva in Canyonlands National Park where the Anasazi indians once overlooked the landscape.
Sitka Spruce, Picea sitchensis, with False Lily of the Valley behind Shi Shi Beach in Olympic National Park, Washington State, USA
“False Doors”
"A narrative is like a room on whose walls a number of false doors have been painted; while within the narrative, we have many apparent choices of exit, but when the author leads us to one particular door, we know it is the right one because it opens."
John Updike
Autobody Fine Art is proud to present “False Doors,” and exhibition that suggests that narrative is the sum of many parts, a measurement perhaps, of the language and syntax that form phrase and meaning in dialogue and storytelling. One of the most seductive aspects of visual language is it’s ability to lead the viewer into unimaginable terrain, both confirming the audiences suspicions whilst denying the truth at the same time. In this sense, most artwork works through the provision of false doors. In particular, the three artists in this exhibition, use multiple elements, repeated, identified and isolated throughout their respective bodies of work, to provide clues and, again, to measure, the stories, myths and environments alluded to in the final form of the artwork.
Clint Imboden delineates and fills environments with the instruments of measurement. Using discarded measuring sticks found in flea markets, Imboden builds unlikely structures of great beauty and fragility that the audience “measures” itself against. The almost negligible profile of the tape, near impossible to see from certain angles, make these as much drawings in space as they are physical bodies. Coleen Flaherty also uses line as an element of the building blocks she takes as the base unit of her large, freewheeling ziggurat-like constructions. Her images are drawn from ancient mythology and from the natural cycles of death and rebirth observed still in the contemporary world. Images of wings and snakes predominate, with the discarded tissue-like skin of real snakes interspersed with her delicate linework, splashes of spray paint and thickly gessoed surfaces. The images found on the blocks cavort across large works on paper, forming abstract, ethereal landscapes at once timeless and yet completely modern. Tena Kaplan’s monochromatic drawings are the most directly narrative. Tales of loss and longing are described by outcast characters who wander through post apocalyptic landscapes. Images of great beauty pop up in this diaspora, birds and fish navigate dreams, competing with warrior figures and personal iconography in an attempt to grab the viewers attention and understanding. Using only pen, ink and pencil, Kaplan documents a visionaries understanding of the myths and symbols that determine a culture and a people.