Competitive Exclusion

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Competitive Exclusion (L)

In ecological theory the principle of “competitive exclusion” states that “two species competing for the same resource cannot coexist at constant population values, if other ecological factors remain constant” (Wikipedia, 2016).

Here on earth we compete against every other living species. Garbage, for example, is a form of competition – an ecologically useless manifestation that consumes, space, resources and time. Ecology’s “garbage” is camouflaged as things human are cultured to “need”.

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Competitive Exclusion (C)

The broader the wash of competition (forms, rates of encounter) the narrower the stream that the rest of life lives in. Outside of direct competition with humans, competition between animals steadily increases within collapsing rivulets.

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Competitive Exclusion (R)

In this painting, “Competitive Exclusion”, two planes of action compete for the eye’s attention. The primary colours create a forest of distraction while nature exists behind it, subdued in the background. The colours bring visions of corner store plastic bread bags and forced gaiety. The choice of primary versus secondary colours integrates culture and hierarchy (oppression). The almost complete absence of complementary colours is also linked to my thinking, of late, about the life and painting style of Vincent Van Gogh, who heightened contrast and visual interest through his use of complementary colours. Focussing on primary colours provided a unique challenge – I tend to want to be unrestricted in my impulses with paint. Perhaps the self-imposed restraint is one of the lessons.

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Competitive Exclusion, triptych, 16 x 20″ each

Ultimately the eye fatigues and chooses the garbage candy of primary colours and nature fades into the background. Those that can find and keep their eye on nature are our salvation.

Dan Nuttall, COMPETITIVE EXCLUSION, acrylic on plywood, triptych, 16 x 20” each

You can find more of my blog articles on ecological art here:

Ecological Art : Three birds approach an empty nest…

Cool Blue Art : A Form of Air Conditioning?

The Mind Is A Zoo

SENSE AND SCALEABILITY

Ten Thoughts You Should Be Having About Non-Human Animals…

More of my larger body of artwork here at: http://www.dandoesdesign.com/

 

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Ten Thoughts You Should Be Having About Non-Human Animals…

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1. Human and non-human animals live in a finite world. Whether the oceans the sky or a landmass, there is only so much space. The human animal is an effective competitor and has a continually expanding population. As the human animal population expands it collapses the volumes within which non-human animals live. This displaces non-human animals. As such, all non-human animals live in continually shrinking spaces.

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Raven and Mirror (1 of 4), acrylic on canvas, 16 x 20″ (SOLD)

 

2. All spaces occupied by non-human animals are designed (affected) by humans. The spaces occupied by non-human animals have a variety of names: zoo exhibit, conservation area, protected area, island. These spaces have “inputs” and “outputs”. Regardless of name or designation zoo exhibits and conservation areas are the same – designed and shrinking spaces, with controlled quantity and quality of inputs and outputs, and a finite number of non-human animals that can be supported.

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Three Birds Approaching An Empty Nest, acrylic on archival paper, 11 x 15″ each

 

3. Animals can thus occupy displaced ecologies or in situ ecologies. In situ ecologies, for the time being, require less intervention from human animals to maintain. A green roof, a fish tank, a zoo exhibit are all displaced ecologies. The care and maintenance of displaced ecologies require more resources than in situ (connected) ecologies.

 

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Mimesis 3, acrylic on wood panel, 36 x 36″ (forms taken from abandoned zoo exhibits…)

 

4. Human animals control the quantity and quality of inputs and outputs for non-human animal habitats. In a sense all animal spaces have “bars” that regulate – some things are kept out and some things are allowed through.

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Competitive Exclusion (triptych), acrylic on plywood panel, 14 x 18″

 

5. If the quality of input is less than optimal for a given non-human animal species this is a form of “competition”. Pollution is a form of competition. Waste is a form of competition. Noise is a form of competition.

 

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Bird Moments (Flicker), 16 x 20, oil pastel on archival paper (SOLD)

 

6. Ultimately, all non-human animals will be faced with extinction, captivity or domestication.

 

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Benthic Creatures (triptych), oil pastel on archival paper, 10 x 14″ each

 

7. When engaged in competition human animals usually choose themselves over non-human animals.

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Cry Me Some Rivers (diptych), acrylic on wood panel, 24 x 30″ each

 

8. We are all animals and subject to the laws of ecology. The world can survive without economy but it cannot survive without ecology. Ecology trumps economy.

 

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Habitat Is The Cage, acrylic on wood panel, 30 x 40″

 

9. Given the above the issues relevant to zoos and “captivity” are the same for “the wild” and conservation areas. Human animals need to think more holistically and along longer time frames.

 

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Diving Loon, acrylic on wood panel, 16 x 16″

 

10. The number and diversity of non-human animals should be viewed as positive correlate of the probability of human animal survival.

 

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Extinction Is A Won War (Dodos), acrylic on paper, 30 x 40″ each, SOLD

 

You can read more about my thoughts regarding non-human animals, and explore my art in relation to this topic HERE, or my ecological art HERE and HERE.

 

My web site is dandoesdesign.

 

 

Capturing Nature

Dan Nuttall, A Bird in the Hand, proposed poster for The Women's Global Call for Climate Justice.
Dan Nuttall, A Bird in the Hand, proposed poster for The Women’s Global Call for Climate Justice.

When you spend a lot of time around something, anything, you pick up its shape, its various curves, its colour in different lights, its scent, its boundaries from different angles. The more you look, the more you know, the more you can intuit. Think of birds for example. When I look at bird art I can tell how familiar the artist truly is with the species in question. I recently picked up some ceramic nuthatches by Lisa Creskey which were for sale at Craft Ontario on Queen Street, in Toronto. Deceptively simple little “lumps” of clay – as coy as nature herself – they resonate in the hand and stir in the heart.  I have a thing about birds in the hand. I get the same feeling when I look at work by Susie Osler. Osler’s “Objects for the Hand and Heart” are winsome, attentive yearnings brimming with life’s energy. Again, an artist so much at attention that her vocabulary allows the creation of new living things, new and resonant forms of nature.

One day, in Mexico, I looked out my window to see two small forms on the ground. One of the forms flew away – rocketing over the decomposing rock walls of my yard – a Ruddy Ground Dove. The other, I picked up and held as it died – the world above the two of us still captured in its moist reflecting eye.

Palm Tree by Marie Finkelstein
Palm Tree by Marie Finkelstein

I painted my feeling for that bird and gave it a gaze that would allow it to ask for an eternity. Later I proposed the painting as poster for The Women’s Global call for Climate Justice – part of a campaign to raise awareness as a lead up to their conference this fall in Paris, France.

The dove that died had been feeding on the ground under a native Yucatan palm tree. I have spent a lot of time around palm trees – planted a few, cut a few down, drank palm wine, gathered palm seeds, and gazed at them in gob-smacked admiration. Looking at the work of Marie Finkelstein, recently on view at Gallery 1313,  I have the same feeling again. She has spent time gazing and knows the movement of a frond, the slight sway of a trunk, how to make the palm as strong as the sky. How to make a tree formidable in concert with a blazing sun and inky shadows. The show closed yesterday, but Marie’s work may be found online and, does what I feel great artists do  – capture life in their hands and raise it like a glass to our lips, to quench the psyche, our eyes and stomachs and hearts.