Tremenheere Sculpture Gardens

A photo of a buzzard launching itself into the air from one of the sculptures in Tremenheere Sculpture Gardens, near Penzance, Cornwall.
The sculpture is Restless Temple by Penny Saunders (It sways disconcertingly in the wind).

Tremenheere Sculpture Garden Restless Temple

 

 

 

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The evolution of butterfly eyespots

Here’s an interesting observation I made a few years ago that I think makes a good illustration concerning the evolution of eyespots on butterfly wings.
Below is an image of a peacock butterfly, with its very obvious eyespots.
evolution-butterfly-eyespots-peacock

Next, here’s an image of the top edge of the peacock’s upper wings, with beneath it an image of the top edge of another butterfly’s wings that look extremely similar. You can make out the same type of eyespot pattern on both sets of wings.

evolution-butterfly-eyespots

The second butterfly in the image above isn’t a peacock however, as you can see from the image of the whole butterfly below. It’s a small tortoiseshell, and it doesn’t have eyespots at all.

evolution-butterfly-eyespots-tortoiseshell

 

Assuming that the two species evolved from a common ancestor, how is it that the butterflies might have evolved in such a way that their wing patterns (at least along the top edge) are so similar yet so different?

Here’s a theory.

The common ancestor of the tortoiseshell and the peacock started without eyespots – with wings that were perhaps similar in patterning to the present day tortoiseshell’s (at least in the region of the wings that we’re dealing with).  Small variations to the colouring of the patterning on the wings of some of the butterflies then turned the abstract patches at the top of the wings into what we interpret as eye shapes. These eye shapes turned out to be very useful for the survival of the butterflies that possessed them, and thus the eyespot pattern was passed on and reinforced through the generations. Thus the evolutionary line that developed into the peacock diverged from the line that evolved into the tortoiseshell. It’s important to emphasise that the patterning’s resemblance to eyes is purely fortuitous: it’s nothing more than a small random deviation from the abstract patterning that the tortoiseshell butterfly still has – a bit of light colour added here, a bit of dark there. It’s just that this particular small variation in patterning has such an obvious effect, because most creatures are attuned to homing in on eyes (or anything that looks like eyes). Other small random deviations to the patterning would go almost completely unnoticed.

This explanation for the evolution of the eyespot echoes very nicely the theory of the evolution of the eye itself, in which random variations in a species’ makeup eventually lead to the evolution of what otherwise seems to be a near miraculous organ (See The evolution of the eye. )

It’s also possible that evolution took a different route, and that the common ancestor of the tortoiseshell and the peacock both actually possessed eyespots, and that through evolution the tortoiseshell gradually lost its spots. This however doesn’t explain how the butterflies both acquired their eyespots in the first place. I expect that it would have been through a process very similar to the one that I’ve just described.

 

One last thing.

A while ago I was watching a peacock butterfly sunning itself on the ground. I was watching it through a pair of close-focus binoculars, so that I has a very close-up view of the insect. It was vibrating its wings, which insects often do when they need to warm up their flying muscles. Through my binoculars the extremely close-up view of the rapidly vibrating eyespots on the wings looked truly sinister and scary. If I’d been a predator (which by definition would mean that I’d be very close to the butterfly and would be very much aware of the vibrating of the eyespots) I’d have fled. So vibrating wings may not only be good for warming up wing muscles, but also for warding off predators (which would be particularly useful when the butterfly hadn’t warmed its wing muscles up enough to be able to fly away itself).

 

 

 

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Christo and Jeanne-Claude cartoon

A cartoon about Christo and Jeanne-Claude. This cartoon was drawn when the pair were only referred to by Christo’s name alone.

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Christo and Jeanne-Claude: The Mastaba

christo-mastaba-6115

The Mastaba by Christo and Jeanne-Claude on the Serpentine in Hyde Park, London, July 2018.
Christo and Jeanne-Claude are most well-known for wrapping things up, however they’ve also had a thing about oil barrels for quite a long time.
Below is one of their more modest barrel-based works, exhibited in the Serpentine Gallery until 9th September 2018.

christo-barrels-serpentine-sackler-gallery-6105

Here’s a cartoon about Christo and Jeanne-Claude.

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Marcel Duchamp’s Fountain at Tate Modern – how to display a revered object

The current exhibition of work by Marcel Duchamp and Salvador Dali in the Royal Academy features Duchamp’s most famous work, Fountain, displayed in an arrangement in which it rests on a large table-like display stand on which in jostles with many other pieces of three dimensional art by the two artists (including Dali’s lobster telephone and Duchamp’s bicycle wheel).
This is in huge contrast to the way in which the work has (until recently) been displayed in Tate Modern, where it has stood in glorious isolation like a revered religious relic. The photo below hopefully gives some impression of the reverence that the work inspires.

Marcel Duchamp's Fountain displayed at Tate Modern

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Olafur Eliasson at the Frieze Art Fair, London.

I’ve been a regular visitor to the Frieze Art Fair in London’s Regents Park for many years now.
In some years one particular work of art will stand out as my favourite.
This year it was a work by Olafur Eliasson.
Last year it was a work by Olafur Eliasson, and the year before that it was a work by Olafur Eliasson too.
In none of those years did I know that the work that I was admiring was by him when I first saw it – it was only when I looked at the labels afterwards that I realised that they were all by the same person.

Here’s this years example, titled The hinged view, exhibited by the Tanya Bonakdar Gallery

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Oxo Cube – an infinity mirrors artwork

Mirror based contemporary art - OXO cube

This is a piece of contemporary art that I’m working on composed of a cube in which the vertical sides are all mirrors with their reflective surfaces facing inwards.
The multiple reflections that are created by the mirrors make the patterns on the floor of the cube seem to form the word ‘OXO’ in each corner of the cube, with the word itself then multiplied many times by the process of infinite reflection that is set up when mirrors are facing each other and are parallel.

The design on the base of the cube is shown below. The word ‘OXO’ doesn’t occur at all. It is the fact that the word OXO is symmetrical about both its horizontal and vertical centre-lines that allows the shapes in the cube’s base to be reflected and then reflected again to generate the word.

Base of mirror based contemporary artwork - OXO cube

The ‘infinity mirrors’ nature of the work, with its infinite reflections within the cube can be seen in the image below.

Mirror based contemporary artwork - infinity mirrors

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