Crows Nest Falls Return To SciArt Ezine

I met Ben when he was posting some works at the post office. I had a big empty wall and thought he might come up with something interesting. What he did come up with was very impressive and just perfect for the space. So many people comment on it.  It has such an interesting story behind it.  Ben says ”In the creation of this piece I was heavily influenced by ancient Chinese landscape art.  In approaching the creation of a work on such a large scale I chose a topic that I believed mirrored the space. The work speaks of the grandiose elements of landscape referencing the other theme of the work which is deep time and evolution. I have used relatively local material to construct the work and because of the number of details I have listed them: All of the fossils featured are Australian and range from the Devonian to the Cretaceous. The lake, which is central to the work, is Crows Nest Falls. The mountains that surround the lake are the Green Mountains. The plants were collected at Noosa and in the Green Mountains. The waterfalls are from the Blue Pool walk at the Green Mountains. The bee, flower and lizard in the far left corner were taken in the Lockyer Valley and the fossil just above them, that looks a bit like a crocodile, is a 2m Triassic amphibian that was dug up in St Peters brick pit in Sydney, we call it Paracyclotosaurus. Above this is a seed-fern, Pachypteris crassa and in the Bottom right corner of the left panel is a Cretaceous Kronosaur from Winton Qld.   The dragon fly,  middle left panel, is from Noosa National Park.   I used a photo of Mount Warning, seen in the right panel,  to create the orange silhouette mountain, middle/far right.  The Sunset, top middle panel, was taken from the hill at Toowoomba State High School.  The fossil plant above the white flowers, middle panel right, is the Agathis Jurassic, a 175 million year old Kauri Pine. With the exception of Mount Warning, I made the mountains by compressing a photo that I took of undulating hills in the Gold Coast hinterland. The colour scheme for the work was simply an aesthetic choice; there was no conceptual reason that dictated the use of these colours.