Yet more natural fracture patterns in Jurassic rocks at Seatown in Dorset, England, re-coloured with digital wizardry.
I am overwhelmed by the beauty of the Emily Young sculptures that are periodically exhibited in London locations for all to appreciate. Not only is the working of the stone exquisite but the selection of the stone for the work itself is amazing. As an amateur geologist I am fascinated by the range of colours, patterns, and textures naturally occurring in rocks, and to see them used to such great advantage is a privilege. I discovered an exhibition of Emily Young’s sculpted heads in the Southwood Garden attached to St James’ Church near Piccadilly on my last visit to London. They will be on display until January 2018. These pictures show aspects of a sculpted head called Veltha which is created in brecciated onyx, and it is displayed by courtesy of Bowman Sculpture.
After the beach boulders and scattered rusty metal debris, there is sequence of flat rock platforms exposed by the retreating water. They are riddled with holes made by the boring bivalves known as piddocks, some burrows just have empty shells in them but others are still occupied by the living molluscs that squirt water a foot or more into the air at frequent intervals. A velvet swimming crab mooches around the edges of the platforms, and sand tube and mud tube dwelling worms abound on all the surfaces.
I discovered an interesting stretch of shoreline when I visited Lyme Regis yesterday. The cliff location is known as The Spittles and it is situated immediately east of the new sea wall. The tide was going out but not as far as in March 2010. Enough to disclose an array of boulders with scattered fossils, broken coloured glass, and rusting metal. The man-made junk resulted from a major landslide in 2008 when the contents of an old town rubbish tip (which had been in existence from 1920 to 1973) cascaded shore-wards with the rocks and mud. The junk continues to wear out of the cliff face to the present time.
There are some interesting items to be found. The rusting metal components, often with remnants of paint, provide intriguing contrasts with the natural environment in which they are lodged. There is a striking similarity between the metal colours and textures and those of the dead and dying autumnal colours of seaweed. As the water receded, it left intricate patterns in the sand around the rocks and even in fine sediments of smoother rock surfaces.
More natural fracture patterns in Jurassic rocks at Seatown in Dorset, England, re-coloured with digital wizardry.
Once upon a time the ancient palace at Knossos on the island of Crete was made of smooth white blocks of gypsum with polished surfaces that gleamed in the sunlight. The effect of weathering over the centuries has stripped away the surface of the building blocks and created rough textures and patterns of sharp edged furrows where acid rain has dissolved the stone as it runs over and down the masonry. The gypsum blocks mimic a phenomenon called rillenkarren found on a larger scale in limestone landscapes all over the world. These erosion patterns in the landscape are known as karst topography. I previously photographed an example of karst topography with rillenkarren in the Queensland outback in Australia near the old mining town of Chillagoe.