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Posted by Second Life Resident Torley Linden. Visit Scribble.
Macro Mondays theme: Mediums
I had a hard time carving out time for Macro Mondays this week but I hate missing one. This is a calligraphy pen and a current shot of a sample I did years ago.
HMM
Scribbly Gum.
The Scribbly Gum, is an Australian eucalypt that is named after the "scribbles" on its bark. These zigzag tracks are tunnels made by the larvae of the scribbly gum moth (Ogmograptis scribula).
The patterns of a "scribbly gum" (Eucalyptus haemastoma), caused by insect larvae burrowing beneath the bark. As the tree loses its bark in summer, newer scribbles appear on the lighter-coloured fresh bark on the left in this image.
A Macro Mondays submission on the topic "Redux 2019", my favourite MM theme of 2019, "Patterns in nature".
HMM and Happy New Year to all Macro Mondays followers and contributors.
in the margins of
Banksy's Dismaland & Others
Barry Cawston *1966 Bournemouth, UK
Weltkulturerbe Völklinger Hütte
September 2017
Minolta x700, 35mm 2.8 MD, Fuji Neopan 100 Acros II
Developed and scanned by Photo St Denis.
Parc De Lorimier, Montreal. May 2020.
I saw over 200 species whilst snorkelling in the Maldives - no, I'm not going to post them all you'll be pleased to hear, but I do rather like this one, I think it makes for a nice image and I hadn't seen it before. Apparently it can change its background colour like an octopus.
Cataract Falls Car Park.
Love these trees & love watercolour so in the style of Albert Namatjira.
Albert Namatjira (1902–59) was one Australia's most notable artists. His work, primarily watercolour landscapes of Central Australia, is represented in all Australian State art galleries. Namatjira was born into the Arrernte community at the Hermannsburg Lutheran Mission, near Alice Springs, Northern Territory.
Clearing VII 2019 - Antony Gormley
[A little something to amuse, whilst we are awaiting the results of the UK’s general election...]
This 'drawing in space' is made from approx 8 km aluminium tube, coiled and allowed to expand until restricted by the confines of the room. The wild orbits of the line evoke the sub-atomic paths of electrons, or the frenetic scribbles of a child. Clearing VII challenges the boundaries of sculpture: the space occupied by the piece and the viewer are one. No longer a single object, the work becomes a 'spacial field'. As we enter, we activate this "bundle of nothing". Choosing a route through involves negotiation: stepping over, under, crouching or turning, we become part of this dynamic artwork.
