More on: nature

CERAMICIST ALLISON LUCE makes biomorphic portraits that seem almost excessively beautiful. Each piece revels in its physicality, its undeniable materiality, in its earthy substance—clay—and organic forms. Her four-part Serpent Tree series serves as an apt introduction to her work. In Primoris Ortus, for example, assemblages of swelling, vegetative curves stand alongside works suggestive of eroded rock…

The photographs are separated by the turn of the page, so that to look at one is to conceal the other. In the first, reindeer scatter westward, their antlers unblooming trees upon the cave’s wall, their hooves roots snaking through barren rock, seeking distant water. In the second, the scene is repeated, but darkly, stripped…

The bay’s mouth swells, sucking the gale and spit into stone lungs, laying the ground for what the island tells, hoarsely: before the boats arrive, after the shops shut. Beach Sand shuffles amiably, like familiar words stroking and nosing one another, melismatic chant that slips and pours so quickly that you never see the razor…

This winter is a bear in my garden: it sharpens its claws against the oak and snuffs through topsoil to pry loose the hidden bulb. I traced its path in window frost, how the soft pad of its heel pressed me like a child inside the womb until the swift puncture of claw. I breathed…

What offers a skeletal peep. Feather-smear, mostly gullet—agape for the secondhand upchuck grub, bolus crammed iridescent with carapace and wing. A holiness, this helplessness, the mother’s tireless, kenotic reconnaissance ending every time with her head bent to her nest of tidbit beggars, X-ray translucent, the tinder of their bones radiant beneath. All hollow. The aerate…

In my mouth the name of God an overripe pear: a grain, a grit on the tongue. A grail, all vowel-shaped gaps, like lipping the rim of an empty cup, that low-frequency opening undoing, unhinging the jaw. God’s name as eyetooth, meat-intended, a visible skeletal hint. God as salve for chalk. For the bent heart,…

Artist Natalie Settles, featured in Image issue 85, has long been fascinated by the biological sciences. She makes drawings and installation art that mix highly detailed botanical and zoological imagery with highly stylized forms, like Victorian decorative motifs. Her installation works are interactive; they use a gallery space to create an ecosystem in which the viewer…

Darwin’s Century: Evolution and the Men Who Discovered It by Loren Eiseley (Doubleday, 1958) Science and Faith: A New Introduction by John F. Haught (Paulist, 2013) Ask the Beasts: Darwin and the God of Love by Elizabeth A. Johnson (Bloomsbury, 2014) Living with Darwin: Evolution, Design, and the Future of Faith by Philip Kitcher (Oxford, 2007)  …

Reading from Two Books Nature, Scripture, and Evolution   In the Middle Ages, philosophers and theologians described nature as a book, a coherent work in which we could glimpse the mind of God. Like scripture, the book of nature bore the divine imprint—the Imago Dei—and the two books were seen as complementary. In the centuries…

Reading from Two Books: Nature, Scripture, and Evolution   In the Middle Ages, philosophers and theologians described nature as a book, a coherent work in which we could glimpse the mind of God. Like scripture, the book of nature bore the divine imprint—the Imago Dei—and the two books were seen as complementary. In the centuries…