sculpture in nature

Copper Beech Circle

Installation and sculpture in nature by land artist Richard Shilling . Richard proved art is absolutely free.

Richard Shilling makes sculptures from natural materials he gathers near to where each sculpture is made. Every sculpture is photographed in natural light, using normal camera equipment and without any photoshop trickery. Each photo accurately depicts how each sculpture appeared, at its most vibrant moment, before the elements reclaim the materials back to nature. Through his ongoing relationship with nature he explores themes to do with time, ecology and the constant flux of the seasons and expresses these ideas through his unique land art images.You can see much more of his work and read all about what he gets up to on the photo sharing siteFlickr and on his blog with updates every week and many new sculptures.

2 Tone Cliff Pebble Stack

Rowan Berry SquaresHazel Spheres

Equilibrium StackOak Leaf Colour Square

Rock Pool Toadstools


The Apostasy – Nicholas Baxter


“Anointing” Oil on Panel 24″ x 24″

Oil painting series Apostasy painted by Nicholas Baxter . Apostasy means renunciation of a religion by a person and this series explores science and medicine as the new religion.

These images represent an inquiry into the medicalization of modern society.  In our time, the specialized knowledge of an elite group has been canonized and made gospel, resulting in the learned helplessness of an increasingly ill populace. Surgeons and scientists alike have become the new priests of a material-industrial age, in which living organisms seem to be regarded as no more than an assemblage of mechanical parts. (read more)



“Almighty” Oil on Panel 12″ x 12″


“Hand Of God” Oil on Panel 24″ x 24″

“Baptised” Oil on Panel 12″ x 24″

“Light Of The World” Oil on Panel 12″ x 24″

“First Judgement” Oil on Panel 12″ x 12″

source: streetanatomy

steam-punk animals

steam-punk robotic sculpture by Australia born New Zealand base sculptor Lisa Black .

Her love of animals and their form, combined with a preoccupation with an imminent future where technology and biology are intimately combined, led her to create her ongoing series of modified animals. […]
Her work is a reflection of our undeniable technological progression; seeing animals with carefully integrated mechanical additions encourages us to reassess how we define “natural”. 
By creating beauty within this supposed paradox, she challenges the concept of a world separated into the ‘sacrosanct’ natural and ‘vulgar’ industrial.