Like an interminable flock of sheep in steeply undulating terrain, the buildings in Lisbon clung to each other with inextricable dependency. 105 x 105 mm.

From the water's edge, it was hard to tell whether the buildings had fallen from above and landed in a big heap of stone, wood, and windows or if they had erupted from the mountain beneath them in molten coagulation of building parts becoming architecture. 148 x 180 mm.

The precision of the steelwork on the Ponte Luis I Bridge in Porto made up for the lack of engineering on the flanking slopes. Disheveled buildings in an organically (un)planned city. 105 x 175 mm.

Order and design on an architectural scale and a chaotic labyrinth on an urban scale. 105 x 105 mm.

A buggy without a beast—the fifteenth century equivalent of a car that has run out of gas (each analogous to the current state of affairs in Havana). 85 x 105 mm.

The setting of the Russian Hotel on the beachfront promenade made the yellow building appear like it wore a red hat and a blue skirt with white trim. Pure primary fashion. 105 x 110 mm.

What began as a shack for a lone fisherman in Baracoa grew piecemeal into a fine accommodation for those willing and able to navigate spiral stairs and forgo an unfinished balustrade. Mountain views from the same sea shores that Columbus first stumbled made up for any lack of architectural value. 105 x 105 mm.

Had the truck continued its route toward the sea from the town of Paraguay, the intended Gtmo would have involved a great deal more anguish than the small, quiet town on the scheduled stop. 148 x 180 mm.

With the disbandment of Buena Vista Social Club, old guys galore have taken to the streets of Cuba with his best rendition of "Chan Chan." Los Jubilados gently but passionately strum in the shade, on the stoop, as lazy traffic noise fills the silence between songs. 148 x 170 mm.

From her perch on the pediment, the acroterion angel stood poised with her trumpet. On the first beat of the fifth measure of the last refrain of "Guantanamera," she tore into her trumpet with devilish intensity, taking the entire plaza of Santiago de Cuba by surprise. 105 x 120 mm.

Last seen at a Saltlick performance in Eugene after throwing ultimate frisbees, Nathaniel Talbot has established a rhythmic foothold in the Portland music scene, most recently at Mississippi Pizza. 90 x 105 mm.

 

Hovering just above the treetops at Spring Canyon Ranch, feigning acrophobia. 216 x 280 mm.

Rogers Rim Rock Ranch (including subsequent additions by Spring Canyon Ranch owners) as seen by Captain A. W. Stevens of the Explorer II on its November 1935 world record-setting ascent to 72,395 feet in a 3.7 million cubic foot balloon. 148 x 180 mm.

As the year ends, daring resolutions are hastily satisfied in an exposé of amateur acrobatics among the many branches in Aspen. 148 x 168 mm.

While the women grind in more conventional fashion, the lumberjacks resort to their specialty. With the first few strokes, the Feller is an entertaining jig but soon ends in a heap of hair and flannel. 74 x 74 mm.

When lumberjacks infiltrate the nightlife in Breckenridge, their skills are easily transferrable to whatever  rhythm they find, granted their fitness level can keep up. The Two-man Saw is particularly suited for electronic beats. 74 x 74 mm.

Pioneered on the featureless prairie of Wyoming, the Pumpjack dance evokes the melancholic movement and reverential bow of its namesake as it bores its host. 105 x 105 mm.

Lutefisk excluded, Christmas dinner resembled everything Scandinavian. Excess was the only unmistakably American addition. 105 x 105 mm.

The muscular Monkey-puzzle (araucaria araucana), still strong after millions of years in existence. To be tattooed on a scale rivaling reality. 105 x 105 mm.

Cartographic flora from places my brother has been in North America. From north to south: Canada (aceraceae), United States (rosa), Mexico (dahlia), Costa Rica (guarianthe skinneri), Panama (peristeria). Soon to be tattooed. 105 x 105 mm.

What happens when something used for finding other things is lost? When found, is it disoriented? 105 x 105 mm.

A floral map that charts our route through South America where my brother and I cycled for twleve months (see Bicyclandes). From north to south: Ecuador (chuquiraga jussieui), Peru (cantua buxifolia), Bolivia (heliconia rostrata), Chile (lapageria rosea), Argentina (erythrina crista-galli). In the process of being tattooed on his lower left-side. 148 x 148 mm.

A geographic bouquet of flowers that represent each place my brother visited while traveling Southeast Asia. From north to south: Vietnam (nelumbo nucifera), Cambodia (mitrella mesnyi), Thailand (cassia fistula), Indonesia (rafflesia arnoldii), Malaysia (hibiscus rosa-sinensis), Singapore (vanda Miss Joaquim). Soon to be permanently inked on his left arm. 148 x 170 mm.

Indetermination of recommendations for institution applications causes trepidation. 74 x 82 mm.

Considering the speed at which he wrote, the letter could have been chiseled in cuneiform. 52 x 52 mm.

Drafts fly off the desk with monk-like efficiency, expending volumes of ink, flocks of quill-tips, and crops of papyrus. 52 x 52 mm.

If telephone lines could voice the encoded conversations they carry, intersections such as these would roar with weather reports, grain prices, and conference calls, intermixed with whispers of infidelity, wishes of holiday cheer, and want for more time. 210 x 230 mm.

Though resembling a sliced onion, passersby cry for other reasons as they lament at what used to be: sacred, fertile ground that once hosted a sustainable nation, now poisoned by architecture inspired by irrelevant culinary staples. 148 x 160 mm.

Birds committing the equivalent of a keg-stand on Aby's Feed & Seed. Circuitous flight patterns ensued shortly thereafter. 105 x 105 mm.

Had there not been a concurrent birthday party and chemistry club meeting already underway at the bowling alley, the evening might not have been so immemorable. 52 x 52 mm.

When comparing trees to tubers, one finds striking similarities that imply an underlying order. Some venture to recreate the system of distribution in artificial terms. Others simply draw them and comment on their similarity. 52 x 52 mm.

Would potted plants be akin to caged animals? If so, this is a zoo. Otherwise, houseplants could be considered pets. That way, this would be more like a shelter. They do indeed look grateful against the blinding white backdrop of freshly fallen snow. 74 x 78 mm.

The annual Christmas tree hunt was hastened by advancements in rapid prototyping of scissoral technology. Human limbs are to be kept clear of arboreal ones if preservation of digits is desired. 52 x 60 mm.

Floral gurgitation of ornithological origin; or simply a bird that pukes plants. 52 x 58 mm.

Among the many expressive mugs lining the Scandinavian cupboards in Middle America are those that reinforce the sentiments of life without coffee. 52 x 52 mm.

Arbortectural solutions that respond to increasing demand for environmentally sensitive housing. 52 x 60 mm.

For dually-addicted customers only. Both psychological and chemical fixes in one frustrating and unsatisfying operation. 105 x 130 mm.

Imagine what bricks witness as spectators of a revolution. On one side, they listen as plans hatch over spilling steins; on the other side, they watch as the action happens. All in due course. 210 x 210 mm.

The underside of Pulaski Bridge seemed strangely familiar, although for no reason would there have been occasion to frequent it. But in this case there was reason, however latent and overdue. 52 x 60 mm.

His media is already there. It's everywhere, in fact. All he does is frame it. And in doing so, he captivates people. In his installation, people stayed for twenty minutes on average, sometimes longer than an hour. The piece: Meeting. The artist: James Turrell. 52 x 52 mm.

Porches, in their cavalier orientation to the familiar and unknown, become breeding grounds for miniature revolutions. Whether calculating the espionage of Ms. Applebum's top drawer or the eventual capture and domestication of those damn squirrels, the antespace plays host to minorly influential schemes. 74 x 86 mm.

Mary—Bloody as ever—is able to cure the fiercest hangover with doctoral prescription. Even the umbrella serves as a protective measure against the unlikely eruption of asbestos from the dated insulation of the Victorian eatery. 52 x 52 mm.

Those that give thanks do so with considerable enthusiasm, inexcusably provoked by elevated tannins and triptophan surfing the bloodstream. 105 x 105 mm.

It is not coincidental that dinner and funeral attire resemble one another. Cannibalism and suicidal tendencies are inextricable among glutinous turkeys at Thanksgiving. 52 x 56 mm.

When a new museum adopts the said announcement as a permanent title, freshness is preserved. Even if fretted aluminum panels and "Hell Yes" go out of style. 74 x 88 mm.

While Jørgen frantically threw oil paint at a commissioned canvas, traffic sped apace on Tito Puentes Way. For him to make his deadline in the morning, the composition assumed a foreground consumed in clouds. The walk sign beckons. 210 x 250 mm.

If not restrained by the two-point seatbelts of BoltBus, the documents may have solicited themselves nondiscriminatorily to seeking industries, not excluding escort services. 52 x 52 mm.

Compared to a blobfish, the blowfish is a Cleopatra, spines and anaphlaxis considered. 52 x 52 mm.

Devendra Banhart and The Grogs "languidly lilted" in the winter wind at Berklee Performance Center to onlookers whom "upon their hearts...amharic vows were scryed" by "a frenectomy and a few words of love." 52 x 56 mm.

A monumental waffle made from the syrup-guzzling fenestration of Steven Holl's dormitory at MIT fed every resident in Simmons Hall at a hangover breakfast held on the facing pitch after a heated robotics competition that celebrated the closing of Homecoming Week. 148 x 172 mm.