Johann Muscat, ornamental letters, 1692. In: Kurtze, doch Gründliche Anweisung zur zierlichen Schreib-Kunst, Nuremberg. Via DIPF
The spotted handfish (Brachionichthys hirsutus), an amazing creature that walks the ocean floor, is a rare Australian fish from the family Brachionichthyidae. It is classified as Critically Endangered on the IUCN Red List 2002. is the first Australian marine species to be threatened with extinction.
The greatest threats to the handfish appear to be siltation and invasive species. The Derwent Estuary where the fish lives is highly urbanised and industrialised, and a range of marine pests have been introduced through shipping. One key pest is the Northern Pacific Seastar (Asterias amurensis), a particularly large and voracious predator that is now abundant in the estuary. Studies by CSIRO show that the seastars eat the stalked ascidians that the handfish use to attach their eggs.
- video CSIROpublishing
Not only does it have creepy hands and… elbows? wrists? … it also has that great pompadour dorsal fin on the top of its head.
Aaaand looking at it again, I’m realizing it has chin-feet too. Man, this fish just keeps getting better.
Isaac Cordal places different miniature statues into his local landscape of Chiapas, Mexico to create an entirely new sense of place once the objects inhabit their chosen situation. Stories develop organically from the objects and, especially with these skeletal versions, take on a metaphorical prowess to the pleasing street art. See more below!
New installation by Pip & Pop in Kurashiki, Okayama: Through a Hole in the Mountain
The Mata Mata Turtle
Found mostly in South America. Its shell resembles bark, and its head resembles fallen leaves, making it an expert at camouflage. It is also an expert at looking like my nightmares.
it looks like a good friend
Simen Johan born in Norway in 1973, who darkly explores the human proclivity towards fantasy and our attempts, knowing or otherwise, to alternate realities for ourselves. Merging traditional photographic techniques with digital methods, Johan creates each of his images from as many as one hundred negatives, having first constructed or discovered each element and photographed it on film. Across his body of work, the viewer is urged to ponder the relationship between the real and the artificial or imagined.