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coyote art seeds

Coyote and dandelion seed Poster

Coyote and dandelion seed poster by Martin Cooper. Our posters are produced on acid-free papers using archival inks to guarantee that they last a lifetime without fading or loss of color. All posters include a 1″ white border around the image to allow for future framing and matting, if desired.

3 – 4 business days

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About Posters

All prints ship in durable cardboard tubes.

Fine Art America is one of the largest, most-respected giclee printing companies in the world with over 40 years of experience producing museum-quality posters and prints. All of our posters are produced on state-of-the-art, professional-grade Epson printers.

We use acid-free paper with archival inks to guarantee that your posters last a lifetime without fading or loss of color. All posters include a 1″ white border around the image to allow for future framing and matting, if desired.

Posters ship within 3 – 4 business days in durable cardboard tubes.

Poster Reviews ( 15171 )

Average Rating ( 4.71 Stars):

Very close to actual SI cover size, which is a good thing, but I sent it back because the image was not as sharp as the original cover, and the color was off.

Great image.Cannot find as an actual SI cover. BUT, I sent it back because it is MUCH bigger than the several SI covers I have framed. Would love to have it if actual size.

very nice print : )

very nice print : ) I wish you had more from these paintings.

About Martin Cooper

Born January 1962 in Beverley, East Yorkshire, England 2005 – present, Coquitlam, BC Martin has been an Amateur Wildlife Photographer and full time Nature lover for over 20 years. Martin emigrated to Canada from England in 2005. A short stroll with his morning coffee had Martin watching a Beaver building a dam rekindling his passion for nature Photography. “I’ve always loved to photograph wildlife but the number and diversity of the wildlife in Canada and even my yard is just . Wow!” He has spent many hours walking the trails in South Burnaby near the Fraser River and a chance encounter with a family of coyotes from a municipal golf course has made the coyote his favourite. “I think it’s the eye contact, whenever I.

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Sara Schneckloth

Please visit the Columbia Museum of Art website for an interview about the project.

In summer of 2019, I teamed with aerial videographer Cary Brooks to capture low-altitude drone footage of the San Juan Basin badlands. While Brooks was above, I was below, drawing and gathering pigments to use in a series of drawings of the same landscape, for a project that allows a viewer multiple perspectives into the landscape, and the body’s space within it. All field footage was taken with BLM permission.

In creating these loosely-referential topographical drawings, I use pigments collected in situ, ground from striated layers of silt, sand, and clay. Using these soils as a self-referential drawing medium invites consideration of both the history and context of the materials embedded within the image as well as the terrain upon which one physically stands.

Gathering soils for pigments, San Juan Basin Badlands, 2019 (photograph Cary Brooks)

Charting the Badlands – Maps and Sites

Ink, earth pigments, colored pencil, wax on Yupo, 2018.

Series I, details, and Series II

Photos: Forrest Clonts

In Charting the Badlands, I focus on the landforms of New Mexico’s San Juan Basin, an oil and gas-rich region characterized by banded geological formations and extensive resource extraction. With ongoing leasing of public lands, there is an urgency to experience the landscape in a state less-touched by excavation and exploratory infrastructure, while also mapping the impacts of development. The drawings reference the history and physicality of arroyos and canyons, pipelines and fences, and the less-visible divisions between public and private lands.

Columbia Museum of Art – a recorded artist talk on the series

CMA’s Instagram feed – a walkthrough of Island Nations/Lands Divided, featuring drawings from the series.

Walls

Ink, watercolor, graphite, wax, colored pencil on Yupo.
2011 – present

Ink, watercolor, graphite, wax, colored pencil on Yupo.2011 – present

This project began while working with a French patrimoine group to rebuild a length of dry stone wall using traditional tools and methods. Dry stone construction exemplifies the direct relationship between the qualities of raw materials and the makers’ understanding of structural logic and practical need. In the process of rebuilding this stone wall, the concerns of construction translated directly into the studio activity of drawing. How do layers build dimensionally, in space and on the page? What does the wall require for maximum stability? What mark will fortify the entire image? When imagined through a biological lens, dry stone architecture bears more than a superficial resemblance to the form and function of epithelial cells, ubiquitous boundaries in in plant and animal life.

Fences

Ink, watercolor, colored pencil, wax.
2013 – present

Island Nations

Ink, colored pencil, wax on Yupo, 2017-2018.

Photos: Forrest Clonts

Cliff Dwellings

2017 – 2018
Graphite on paper

Conglomerate Bodies

Ink, graphite, watercolor, colored pencil.
2014 – 2018

Geofacts

In my practice, drawing is an intimate act of seeing and touching, leaving marks that echo and build upon a lived experience. Working in New Mexico, I create images that combine elements of the observed environment – the canyons, arroyos, skies, and stones – with an imagined biological language of mark. The drawings reflect both the colors and textures of place as well as my own sense of body and form.

Ink, watercolor, wax and colored pencil on Yupo, 2015 – present

Lithoscapes

Ink, watercolor, wax. Dimensions variable – 24×72 – 60×42”

Lithocyclia

Ink, colored pencil, wax on Yupo, 2018.

Photos: Forrest Clonts

In Nascence

In April, 2018, I had the opportunity to travel with a group of artists to the Svalbard Global Seed Vault, located on a remote island between mainland Norway and the North Pole. Already home to the largest collection of seeds varieties in the world, the mountain also now houses artwork that makes explicit the connections between seeds and culture, art and science.

As part of this larger effort to nurture connections between biodiversity and creative culture, I developed (In)Nascence, a series of mixed media drawings that evoke the earliest stages of seed germination. Based on my observations of germinating bean seeds, the drawings are portraits of the embryonic, nascent, moment when conditions are optimal for growth and potential is activated. To learn more about the project, please visit the Svalbard Global Seed Vault site.

In 2019, the project continued in the form of the Seed Cultures Archive, an online collection of artworks I co-curated with Fern Wickson.