Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.
For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:
I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.
Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.
In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.
With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.
Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.
In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.
Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).
Reception Thursday October 16 from 6-8pm

Joshua Liner Gallery is pleased to present Qualia, an exhibition of new works from Tiffany Bozic. This is the artist’s third solo exhibition with the gallery featuring nine works of acrylic on maple panel. The opening reception will take place on Thursday, October 16th from 6–8PM. The artist will not be in attendance, however, as she will be on an expedition to Namibia with husband Dr. Jack Dumbacher and daughter Tesia as they study the genetics of the elephant shrew. Much of Bozic’s work is informed by first hand experience with these expeditions with her family.

For Qualia, Bozic explores the notion of how we perceive information and experience the world around us:

I call this show Qualia, which refers to individual subjective properties of our own conscious experiences. The way you experience the color blue will be different from how another person experiences it. We will never know what it feels like for a fish to swim, or a bird to fly. It is impossible to know what subjective experiences another person or species is having. I find it fascinating that we co-exist on this planet with millions of other living beings, and that we understand little of how they see, feel, and experience the world in their own consciousness.

Documenting her personal experience with nature, it seems only natural that Bozic contemplate our individual experience, on part of the observer and as the subject.

In the work Strength in Numbers, Bozic pairs five Muskoxen with seven Weaverbirds. When threatened, the Muskox form an outward facing circle to defend their calves, protected them within the circle. Here, you can see the Weavers making their nests in the oxens’ coat. These nests form a spherical protection, enclosing their eggs and their young. Bozic explains, “I am interested in painting nature because I can explore the complex patterns within various life forms.” By combining imagery from these two disparate species, Bozic draws out the similarities by juxtaposition.

With Ducks in a Row, Bozic has a little fun, putting together this very literal imagery. From the top you can identify a Wood duck, Spectacled Eider, Mandarin duck, Bufflehead, another Mandarin duck, and lastly a Harlequin duck. Bozic almost exclusively uses maple panel when painting. The quality of the paint hardly seems acrylic; the artist expertly dilutes the paint so much so, that she must paint with the surface laying flat to prevent the paint from running. In contrast to previous exhibitions, many of the works featured in Qualiaboast the natural grain of the maple panel, integrating the wood into the composition.

Melting Glass is a beautiful example of this technique of integrating the surface medium into the subject matter. The cutting channels in the ice and snow mimic the wood grain, just barely peeking through. For this work, Bozic remembers a trip to Mount Lassen, California, with her husband. Recalling the experience—even though several years had passed—Bozic finally sat down to create this painting, remembering her imagination of “deep sea organisms slowly drifting up into the sky from the black current of the water.” She also notes, “I suppose the image stuck with me because it could be a metaphor for a lot of my different emotions… some light and warm, some deep and cold.” The contrasting tones and shades lend themselves to this mood, with negative dark space and dark trees emerging from the solid white snow forms. The ethereal sea shapes preside over the scene.

In an attempt to relay her consciousness’ perspective, this body of work is a rich account of Tiffany Bozic’s incredible encounters with nature. Bozic describes the source of her inspiration as a “complex and inexplicable world.” However, with Qualia, Bozic’s world is within reach and beautifully discrete.

Born in 1979 in Arkansas, Tiffany Bozic currently lives and works in San Francisco. Solo exhibitions of her work include Sense of Wonder at FFDG, San Francisco, CA (2013); Transformationat Joshua Liner Gallery, New York, NY (2012); Confiding in Strangers at Joshua Liner Gallery, New York, NY (2010); Symmetrical Balance at FFDG, San Francisco, CA, and Bedtime Stories at Kinsey/DesForges Gallery, Culver City, CA (both 2008). Selected group exhibitions include: Direct Address: An Inaugural Group Exhibition at Joshua Liner Gallery, New York, NY (2012); Art Basel Miami with Electric Works Gallery, Miami, FL, and In the Land of Retinal Delights at the Laguna Art Museum, Laguna, CA (2008). Bozic has been a noted guest speaker at selected lectures: Semi-Permanent (2013, 2007); California Academy of Sciences, CA (2007).

Reception Thursday October 16 from 6-8pm

News Update: I am taking a brief hiatus from Tumblr!

 

We are returning to study a newly discovered species of elephant shrew in the Namib Desert in Africa. We hope to learn as much as we can about them on this trip by fixing radio-collar’s on them to track their activities and spatial movements. 

We will be travelling off the grid until November, so this means that sadly, I will not be able to attend the opening to my show in NY coming up Oct 16th. We’re still a little bit far off, but I will follow up this post with my Press Release soon since I won’t be able to send it out after I leave technology. 

 

Thank you SO much for your interest and best wishes to all of you! Goodbye!

News Update: I am taking a brief hiatus from Tumblr!

 

We are returning to study a newly discovered species of elephant shrew in the Namib Desert in Africa. We hope to learn as much as we can about them on this trip by fixing radio-collar’s on them to track their activities and spatial movements.

We will be travelling off the grid until November, so this means that sadly, I will not be able to attend the opening to my show in NY coming up Oct 16th. We’re still a little bit far off, but I will follow up this post with my Press Release soon since I won’t be able to send it out after I leave technology.

 

Thank you SO much for your interest and best wishes to all of you! Goodbye!

currentsinbiology:

fuckyeahfluiddynamics:

In the dark of the ocean, some animals have evolved to use bioluminescence as a defense. In the animation above, an ostracod, one of the tiny crustaceans seen flitting near the top of the tank, has just been swallowed by a cardinal fish. When threatened, the ostracod ejects two chemicals, luciferin and luciferase, which, when combined, emit light. Because the glow would draw undesirable attention to the cardinal fish, it spits out the ostracod and the glowing liquid and flees. Check out the full video clip over at BBC News. Other crustaceans, including several species of shrimp, also spit out bioluminescent fluids defensively. (Image credit: BBC, source video; via @amyleerobinson)

This is beyond cool!

currentsinbiology:

fuckyeahfluiddynamics:

In the dark of the ocean, some animals have evolved to use bioluminescence as a defense. In the animation above, an ostracod, one of the tiny crustaceans seen flitting near the top of the tank, has just been swallowed by a cardinal fish. When threatened, the ostracod ejects two chemicals, luciferin and luciferase, which, when combined, emit light. Because the glow would draw undesirable attention to the cardinal fish, it spits out the ostracod and the glowing liquid and flees. Check out the full video clip over at BBC News. Other crustaceans, including several species of shrimp, also spit out bioluminescent fluids defensively. (Image credit: BBC, source video; via @amyleerobinson)

This is beyond cool!

that-angle-of-refraction-though:

The movement of a single particle in an Ocean wave

that-angle-of-refraction-though:

The movement of a single particle in an Ocean wave

(Source: trigonometry-is-my-bitch)

malformalady:

The Gouldian finch are small, brightly colored birds with green backs, yellow bellies, and purple breasts  with a light blue uppertail and a cream undertail. Sometimes called lady gouldians, their facial color can vary, but black is the most common. Gouldian finch chicks are equipped with blue phosphorescent beads along their mouths, making it easy for the parents to feed them in the darkness of the nest cavity.

Photo credit: Greg Grall/National Aquarium

archiemcphee:

Check out the awesomely long tails on these roosters! These regal specimens are Onagadori or “Long-tailed” chickens. They’re a breed of chicken from the Kōchi Prefecture of Japan who evolved from common domestic chickens who mated with Green Junglefowl. Also known as the ‘most honorable fowl’ in Japan, they’ve been carefully bred over the centuries to achieve their spectacular tails, which grow to lengths of 12 to 27 feet. It takes these chickens at least three years to molt. Onagadori breeders take tremendous pride in their chickens and provide special hutches with perches well above the ground, which helps keep their tails clean and in good condition.
If Rapunzel had been a chicken, she probably would’ve looked a lot like one of these awesome birds. These extraordinarily fancy fowl have Special Natural Monument status in Japan, which means they’re considered to be living monuments of Japanese culture and, as a protected breed, it’s illegal to take their eggs out of the country.
[via Lost At E Minor and Wikipedia]
archiemcphee:

Check out the awesomely long tails on these roosters! These regal specimens are Onagadori or “Long-tailed” chickens. They’re a breed of chicken from the Kōchi Prefecture of Japan who evolved from common domestic chickens who mated with Green Junglefowl. Also known as the ‘most honorable fowl’ in Japan, they’ve been carefully bred over the centuries to achieve their spectacular tails, which grow to lengths of 12 to 27 feet. It takes these chickens at least three years to molt. Onagadori breeders take tremendous pride in their chickens and provide special hutches with perches well above the ground, which helps keep their tails clean and in good condition.
If Rapunzel had been a chicken, she probably would’ve looked a lot like one of these awesome birds. These extraordinarily fancy fowl have Special Natural Monument status in Japan, which means they’re considered to be living monuments of Japanese culture and, as a protected breed, it’s illegal to take their eggs out of the country.
[via Lost At E Minor and Wikipedia]
archiemcphee:

Check out the awesomely long tails on these roosters! These regal specimens are Onagadori or “Long-tailed” chickens. They’re a breed of chicken from the Kōchi Prefecture of Japan who evolved from common domestic chickens who mated with Green Junglefowl. Also known as the ‘most honorable fowl’ in Japan, they’ve been carefully bred over the centuries to achieve their spectacular tails, which grow to lengths of 12 to 27 feet. It takes these chickens at least three years to molt. Onagadori breeders take tremendous pride in their chickens and provide special hutches with perches well above the ground, which helps keep their tails clean and in good condition.
If Rapunzel had been a chicken, she probably would’ve looked a lot like one of these awesome birds. These extraordinarily fancy fowl have Special Natural Monument status in Japan, which means they’re considered to be living monuments of Japanese culture and, as a protected breed, it’s illegal to take their eggs out of the country.
[via Lost At E Minor and Wikipedia]
archiemcphee:

Check out the awesomely long tails on these roosters! These regal specimens are Onagadori or “Long-tailed” chickens. They’re a breed of chicken from the Kōchi Prefecture of Japan who evolved from common domestic chickens who mated with Green Junglefowl. Also known as the ‘most honorable fowl’ in Japan, they’ve been carefully bred over the centuries to achieve their spectacular tails, which grow to lengths of 12 to 27 feet. It takes these chickens at least three years to molt. Onagadori breeders take tremendous pride in their chickens and provide special hutches with perches well above the ground, which helps keep their tails clean and in good condition.
If Rapunzel had been a chicken, she probably would’ve looked a lot like one of these awesome birds. These extraordinarily fancy fowl have Special Natural Monument status in Japan, which means they’re considered to be living monuments of Japanese culture and, as a protected breed, it’s illegal to take their eggs out of the country.
[via Lost At E Minor and Wikipedia]

archiemcphee:

Check out the awesomely long tails on these roosters! These regal specimens are Onagadori or “Long-tailed” chickens. They’re a breed of chicken from the Kōchi Prefecture of Japan who evolved from common domestic chickens who mated with Green Junglefowl. Also known as the ‘most honorable fowl’ in Japan, they’ve been carefully bred over the centuries to achieve their spectacular tails, which grow to lengths of 12 to 27 feet. It takes these chickens at least three years to molt. Onagadori breeders take tremendous pride in their chickens and provide special hutches with perches well above the ground, which helps keep their tails clean and in good condition.

If Rapunzel had been a chicken, she probably would’ve looked a lot like one of these awesome birds. These extraordinarily fancy fowl have Special Natural Monument status in Japan, which means they’re considered to be living monuments of Japanese culture and, as a protected breed, it’s illegal to take their eggs out of the country.

[via Lost At E Minor and Wikipedia]

sirenknights:

showslow:

Glass Beach

During the early 20th century residents of Fort Bragg, California chose to dispose of their waste by hurling it off the cliffs above a beach. No object was too toxic or too large as household appliances, automobiles, and all matter of trash were tossed into the crashing waves below, eventually earning it the name The Dumps. In 1967 the North Coast Water Quality Board closed the area completely and initiated a series of cleanups to slowly reverse decades of pollution and environmental damage. But there was one thing too costly (or perhaps impossible) to tackle: the millions of tiny glass shards churning in the surf. Over time the unrelenting ocean waves have, in a sense, cleansed the beach, turning the sand into a sparkling, multicolored bed of smooth glass stones now known as Glass Beach. The beach is now an unofficial tourist attraction and the California State Park System has gone so far as purchasing the property and incorporating it into surrounding MacKerricher State Park. (images courtesy digggs, matthew high, meganpru, lee rentz)

(Via).

Wow!
sirenknights:

showslow:

Glass Beach

During the early 20th century residents of Fort Bragg, California chose to dispose of their waste by hurling it off the cliffs above a beach. No object was too toxic or too large as household appliances, automobiles, and all matter of trash were tossed into the crashing waves below, eventually earning it the name The Dumps. In 1967 the North Coast Water Quality Board closed the area completely and initiated a series of cleanups to slowly reverse decades of pollution and environmental damage. But there was one thing too costly (or perhaps impossible) to tackle: the millions of tiny glass shards churning in the surf. Over time the unrelenting ocean waves have, in a sense, cleansed the beach, turning the sand into a sparkling, multicolored bed of smooth glass stones now known as Glass Beach. The beach is now an unofficial tourist attraction and the California State Park System has gone so far as purchasing the property and incorporating it into surrounding MacKerricher State Park. (images courtesy digggs, matthew high, meganpru, lee rentz)

(Via).

Wow!
sirenknights:

showslow:

Glass Beach

During the early 20th century residents of Fort Bragg, California chose to dispose of their waste by hurling it off the cliffs above a beach. No object was too toxic or too large as household appliances, automobiles, and all matter of trash were tossed into the crashing waves below, eventually earning it the name The Dumps. In 1967 the North Coast Water Quality Board closed the area completely and initiated a series of cleanups to slowly reverse decades of pollution and environmental damage. But there was one thing too costly (or perhaps impossible) to tackle: the millions of tiny glass shards churning in the surf. Over time the unrelenting ocean waves have, in a sense, cleansed the beach, turning the sand into a sparkling, multicolored bed of smooth glass stones now known as Glass Beach. The beach is now an unofficial tourist attraction and the California State Park System has gone so far as purchasing the property and incorporating it into surrounding MacKerricher State Park. (images courtesy digggs, matthew high, meganpru, lee rentz)

(Via).

Wow!
sirenknights:

showslow:

Glass Beach

During the early 20th century residents of Fort Bragg, California chose to dispose of their waste by hurling it off the cliffs above a beach. No object was too toxic or too large as household appliances, automobiles, and all matter of trash were tossed into the crashing waves below, eventually earning it the name The Dumps. In 1967 the North Coast Water Quality Board closed the area completely and initiated a series of cleanups to slowly reverse decades of pollution and environmental damage. But there was one thing too costly (or perhaps impossible) to tackle: the millions of tiny glass shards churning in the surf. Over time the unrelenting ocean waves have, in a sense, cleansed the beach, turning the sand into a sparkling, multicolored bed of smooth glass stones now known as Glass Beach. The beach is now an unofficial tourist attraction and the California State Park System has gone so far as purchasing the property and incorporating it into surrounding MacKerricher State Park. (images courtesy digggs, matthew high, meganpru, lee rentz)

(Via).

Wow!

sirenknights:

showslow:

Glass Beach

During the early 20th century residents of Fort Bragg, California chose to dispose of their waste by hurling it off the cliffs above a beach. No object was too toxic or too large as household appliances, automobiles, and all matter of trash were tossed into the crashing waves below, eventually earning it the name The Dumps. In 1967 the North Coast Water Quality Board closed the area completely and initiated a series of cleanups to slowly reverse decades of pollution and environmental damage. But there was one thing too costly (or perhaps impossible) to tackle: the millions of tiny glass shards churning in the surf. Over time the unrelenting ocean waves have, in a sense, cleansed the beach, turning the sand into a sparkling, multicolored bed of smooth glass stones now known as Glass Beach. The beach is now an unofficial tourist attraction and the California State Park System has gone so far as purchasing the property and incorporating it into surrounding MacKerricher State Park. (images courtesy digggsmatthew highmeganprulee rentz)

(Via).

Wow!

wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries
wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.
BHL Collections: Harvard University Herbarium, Botany Libraries

wapiti3:

Horticultural Belgium: Annals of botany and horticulture on Flickr.

BHL Collections:
Harvard University Herbarium, Botany Libraries

Merriam-Webster

cute


: having a pleasing and usually youthful appearance
: clever in an appealing way

Merriam-Webster

cute


: having a pleasing and usually youthful appearance
: clever in an appealing way

Merriam-Webster

cute


: having a pleasing and usually youthful appearance
: clever in an appealing way

Merriam-Webster

cute


: having a pleasing and usually youthful appearance
: clever in an appealing way

Merriam-Webster

cute


: having a pleasing and usually youthful appearance
: clever in an appealing way

Merriam-Webster

cute


: having a pleasing and usually youthful appearance
: clever in an appealing way

Merriam-Webster

cute


: having a pleasing and usually youthful appearance
: clever in an appealing way

Merriam-Webster

cute


: having a pleasing and usually youthful appearance
: clever in an appealing way

Merriam-Webster

cute

: having a pleasing and usually youthful appearance

: clever in an appealing way

(Source: brokenunderstars)

jamesjeanart:

The Endz (Mangchi Hammer). Ink and Digital, 9 x 12”, 2014.