There’s a property of owls I call “Half-Dome Head.”  It’s a shape that’s noticeable in the profile of all owls, particularly the larger ones.  The Barred Owl to the right is exhibiting major Half-Dome Head.  If Half-Dome Head can be achieved when making owls in clay, the resulting effigies will be Especially Owly.

The name derives from the famous granitic dome formation, Half Dome, in Yosemite Valley, California, which bears an obvious resemblance to an owl’s head in profile.  The geologic Half Dome is forming largely by weathering: eons of sheet-exfoliation on the fragmented face of an exposed granodioritic batholith gave it the shape we see today.  (Appropriately, one of the most Half-Dome-Headed owls ever, the regal Great Gray Owl, is an uncommon resident of Yosemite Valley, see photo below: the color and texture even match).

In owls, the “Half-Dome Head” effect arises from the front of the Owl’s head (in other words its face, to use the technical term) being shaped like a radar dish, to be efficient at gathering sensory input — in other words, light and sound.  But take away the feathers and an owl’s cranium is shaped pretty much like a hawk’s, or even a chicken’s skull (check out these images).  An owl is after all a bird, albeit a fairly specialized one, so it’s built like a bird.  The forward-oriented flat face that we humans find so fascinating (probably for anthropocentric reasons) is due more to posture and feather-arrangement than underlying skeletal structure: the owl generally holds its bill slightly downward rather than forward like other birds.  This gives prominence to the distinctive “facial disc” — the specialized array of radar-dish-like plumage around an owl’s eyes and ears — and positions it so it functions optimally.

The owl’s Facial Disc is a precise specialization for nocturnal hunters who require every available bit of light and sound directed into their sensory apparatus to ensure the highest possible success rate while hunting.  Several features of the facial disc are noticeable: short flat-lying feathers sweep away from the eyes and “cheeks” so as not to impede forward vision; stiff vertically-arranged feathers edging the facial disc help funnel sound into the ear openings, which are asymetrically arranged on either side of the face behind the eye to create aural parallax (and are nowhere near the cranial tufts we commonly call “ears”); and rictal bristles (“whiskers”), which are specialized sensitive filamental feathers on either side of the gape (the flexible corners of the mouth which allow the beak to open and close), that enable the owl to perform preening and feeding activities — including the feeding of owlets — by feel, since their large eyes are immovable in the skull and so can’t focus efficiently at very close ranges.

But that’s just the flat front of the “Half-Dome”: the round back, the helmet-shaped fullness of feathers on the back of an owl’s head also transmits owliness to our perception.  This is also due to the owl’s skeletal configuration: the bird’s upright posture is possible because its skull is joined to a nearly vertical spine.  Most birds’ backs go off at a more or less right angle to their necks (think of a dove), somewhat shortening the curve at the back of the head.  But the feathers on the back of an owl’s head arc smoothly down to the back, which continues downward steeply.  The photo above shows Half-Dome head creating Owliness in an MLO (Moderately Large Owl) I’m currently working on for a client.

Photos: from top to bottom: IBO barred owl, A.Shock; Half Dome Yosemite, Carroll Ann Hodges, USGS; Great Gray owl, Canada (Sorry; don’t know who to credit this photo to); Three Star Owl “eared” owl effigy in progress, A.Shock.  And finally, a Gratuitous Cranky Owlet chillin’ with the Big Boys…

As I mentioned previously, there are two pieces of mine in the NCECA “Potters as Sculptors; Sculptors as Potters” show currently up at Mesa Community College (see the Three Star Owl Events page for details).  One of them is the long-evolving “Toadstack” (the other is Venomosity which can currently be viewed on the Home page.) As promised, here is the entire Toadstack story in pictures, culminating in the final state of the piece.  They go from L to R and Top to Bottom; don’t forget you can click on an image to enlarge it:

and the finished piece, Stacked Toad Teapot Effigy (Toadlier than Teapotly):

This show is associated with the annual NCECA (National Council on Education for the Ceramic Arts) Convention, which opens in town tomorrow (Wed 8 April).  From now until Saturday, Phoenix will be popping with potters, sculptors, and ceramic arts educators.  The downtown Phoenix Convention Center is the main venue, where the discussions, demos, lectures, and exhibitors will be located.  There’s a fee to attend that part of the conference, but there are many many galleries, museums and other display venues which have shows up featuring the work of both nationally known and local clay artists, and these shows are FREE AND OPEN TO THE PUBLIC.

So if you like looking at the broad range of contemporary ceramic artwork and what’s being made in America today in clay, check out the NCECA website for lists of and maps to the concurrent shows and outlying venues which are all over the metro area.  Principal show clusters are located in Tempe, in and around the ASU Campus; Mesa, at both the Community College and the Arts Center; downtown Phoenix in the hotels around the Convention Center; and Scottsdale, in the Old Town Arts District, a fun and stimulating place to visit anyway.  It’s a great time in Phoenix to Get Out and See Art.

And?  Then Sunday evening, a warm, calm, acacia-fragrant evening while it was still light, I looked down on the Nid from the upstairs window, and saw Fascinating Behavior.  The first was a definite look at a dark, fuzzy head with a now orange-yellow bill restlessly moving in and out of sight from the depths of the Nid.  This was very exciting.  Then nothing for several minutes — the Hen was away for quite a while on this outing.  It gave me a chance to study the inner edge of the far side of the Nid, and think how clean it was: no poop.  I realized I’d never seen a hummer carrying a white fecal sac away from a nest, like many songbirds do to keep their nests clean: food in, fecal sacs out.  I wondered if a nestling hummer produced a fecal sac that was just so small I’d never noticed.  Just then a gray fuzzy lumpish shape appeared over the rim: a second nestling!… but, no — it has no face?  What…? Then: SPLORTCH!  Like a jet of ‘baccy juice from the lips of a cartoon hillbilly, a tiny projectile squirt came shooting over the rim of the nest and arced towards the ground.  So that’s how it’s done!  No fecal sacs here for mom to cart away, just a butt-skywards and a quick squeeze, and business has been taken care of.

The second event was the Hen returning.  And, to my relief and fulfilled expectation, she perched on the edge of the nest and pointed her beak downward.  Just like in the nature films, two little heads rose up to meet her, and she poked her bill down one gullet and then the other, dispensing yummy liquid Gnat-in-Nectar stew to each Nidling in turn, the bigger one going first.

To the right is a close-up of an Anna’s hummingbird stamp on a Three Star Owl “Hummingbirds of Arizona” cylindrical vessel.  (Both photos: A.Shock)

No pictures of any of this excitement.  I’ll try, but I’ve decided to paper over the window until fledging.  It would be awful if our voyeurism, or the cats, who love to sit and “read the backyard newspaper” from this window, caused her to abandon the nest.  I’ll leave a flap to peek through, like an impromptu blind, and maybe before long I’ll manage to get a photo.  The best I can do is leave you with this link to someone else’s photo of exactly what I saw.

Cactus wrens are a large (for a wren), lively, and common presence all over the low-elevation deserts in the American Southwest.  The photo to left left shows one sitting on a cholla branch.  They do that a lot, often while making all sorts of  mechanical-sounding vocalizations like drbrdrbrdrbrdrr or krakrakrakrakrakra.  Cactus wrens are expert at landing on, perching on, and building in fiercely prickly vegetation, usually constructing their unruly globular “kitchen sink” nests weaving fiber, litter, twigs and plastic safely into the protective arms of seriously spiny cactus species like cholla.

Last week we found a Cactus wren dead in our yard, stuck in the leaves of a yucca.  Here’s a photo I took of it (take my word for it, the spotty plumage is diagnostic):

This was certainly sad, but it also seemed very odd.  We couldn’t tell how the bird died, but there it was, a sorry speckled-feathery carcass wedged in the leaves of a Soaptree yucca.  Was it stashed there by a predator?  Not likely; there are predators that do that, but they don’t frequent our yard.  Did it die in the foliage above and fall there?  That doesn’t seem likely, either — it was wedged in tight, and somewhat horizontally.  Did it get stuck there, somehow, maybe a foot caught in the narrow leaves?  Possibly.

Here’s another wren story, not sad and perhaps enlightening.

Just a few days after the macabre yard find, E and I visited Boyce Thompson Arboretum, and paused on our walk for a few moments to watch a pair of Cactus wrens (Campylorhyncus brunneicapillus) busily working on a nest in the upper branches of a tree Prickly pear, a really tall variety of Opuntia. You can see the main support pad in the photo on the left, with the fibrous nesting material sticking out to the right, and the streaky bird’s head poking out to the left.  The wren was about to launch itself into the next plant over, a Soaptree yucca, to continue rummaging between the rigid leaves to gather tough hair-like fibers (visible especially clearly in the carcass photo above) that grow along the yucca stem at the bases of the leaves.  It did this over and over again, each time going deep into the spiky growth to tug and pull at the free building material to use in its nest.  Below is the best photo we managed of the wren reappearing with its beak full of yucca fibers.  Considering the tough and pointy nature of the vegetation as well as the close quarters, it looked like hazardous work, although poking around in nooks and crannies, probing with their narrow, strong beak, is what cactus wrens are built to do.  (I’ve tried to extract unwanted volunteers like fan palm sproutlings and African sumac seedlings from inside yucca clumps, and let me say that gloves, eye protection and long sleeves are often not up to the task.)

So did our hapless yard wren get caught somehow while carrying out this dangerous domestic mission?  We can never know for sure, but it seems in the realm of possibility.  It’s hard out there for a bird.

(Top photo, from Wikimedia Commons, by Mark Wagner.  Other photos by A&E Shock)

Another dire tale of cactus wren-related nesting mishap casts the spectre of botanical revenge on this story: a couple of years ago, the continuous plucking of fiber off of a hairy “Old Man” cactus in the yard by a diligently nesting Cactus wren denuded the plant’s crown so much it experienced horrible sun-burn, and died.

And they’re not just for birders.

Brightly colored, biologically faithful yet spirited portraits of native birds, reptiles, and mammals, Three Star Owl Magnets will stick firmly to your fridge or your uncle’s steel cranial plate.  Celebrate a life-bird, a yard-bird, or a favorite bird, insect, reptile, amphibian or mammal — if I don’t have it in stock, request your species of choice, there’s no extra charge for special orders.  They’re easy to pack or mail because they’re small and sturdy, so they’re great as gifts, stocking-stuffers, or thank-you gifts for people who let you stay with them, your favorite birding guide or trip leader, the birder who put you on to the the Lesser Nighthawk you thought was a branch, or yourself.  You get the picture.

Each magnet is a brightly glazed stoneware tile with a strong magnet on the back, with deckled edges and the species name on the back.  The tiles vary in shape and size, but are approximately 2″ x 3″ and have lively, irregular outlines. They’re the most affordable item in the Three Star Owl repertoire, yet each one is a unique, entirely handmade and signed tiny Work of Art.  $16 each, or 3 for $45 (Shipping and insurance additional.  No bulk orders or wholesale, please).  More details (or, lots of the same ones all over again) on the Shop page.

For those who require a bit more item for their needs, be sure to check out the Hanging Wall Tiles — bigger, more detailed, and ready to hang with hand-made beads on faux-leather or copper wire hangers.

Please be aware that the magnets shown here are samples only, not all are in stock.  Inquire for availability.

Important note for birders: Three Star Owl is not responsible for jinxing people who purchase items with species they haven’t seen yet.  Like, you don’t see my fridge rocking a Great Gray Owl…

(For you unstoppable ID-ers, the magnets above from left to right and top to bottom are: Lazuli bunting, Lawrence’s goldfinch, Barn owl, Western tanager, Vermilion flycatcher, Blue grosbeak, Coralsnake, Costa’s hummingbird.)

It’s confirmed — the Hen’s egg(s) has/ve hatched!

This afternoon (Thursday April 2) just after one pm, I was finally able to catch the Hen away from the Nid — she’d been sitting tighter than usual this morning — and could look down on the nest from the upper window.  The first discovery was that the black thing on the rim of the nest is not a tiny beak; it’s just crud.  Having established that, I was about to put the binoculars down because the nest looked entirely empty. Just a second before lowering my arms, though, there was movement: a little yellow-gaped head briefly poked up, wavered around a little, and then dropped back in.  I kept watching, and saw the movement repeated a couple of times.  Once there may have been a glimpse of a second yellow gape (two would be the usual number of nestlings for Anna’s hummers), but I can’t be certain.  In between sightings the nest looked perfectly empty.  I determined to watch until the Hen came home.  After a couple of minutes she did, and just settled right in on top of her hatchling(s), no feeding, just sitting.  It/they disappeared entirely under her.  The nestling(s) must be very very newly hatched, because the little bill was still so very short and entirely yellow.  The head supporting the beak was pink and unfinished-looking.

I have no pictures yet of the ‘ling(s), but here’s yet another of the Hen from earlier in the day.  For now, you’ll have to imagine there are brand new pink-scalped dino-nestlings under her.  (Digiscoped photo A. Shock)

…a little pointy beak?

Here is this morning’s photo of the Anna’s hummingbird Hen on her Nid.  I began looking very carefully for evidence of nestlings yesterday, April 1, since that was my estimate of the earliest her eggs might hatch.  This morning, I checked first thing, and still didn’t see any sign of young birds.  But on examination of this digiscoped photo, there’s a tiny dash of a black line visible at the rim of the nest, showing against her gray fluffy undertail coverts.  Is it or isn’t it a little beak?  I can’t tell.

I’ll check back on the Nid when the Hen is away; more might be visible.  Stay tuned.

(Photo A.Shock)

The final increments of the imperturbable Stacked Toad Teapot Effigy (or Toadstack for short) have been completed, and after months of being alternately obsessed on and ignored, left alone and detailed, the piece is finished and ready for its destination.  Here are its last two phases: a final coat of white terra sigillata (super-fine suspension of clay in water), and smoke-firing.

The Toadstack looks bleached because it’s had a second layer of terra sigillata brushed onto it, and lightly buffed back, so it remains mostly in the low points of the textures.  Terra sigillata is slip — clay and water and sometimes a mineral colorant — but the clay particles in it are finer than regular slip mixtures, so the surface can be buffed with a cloth or even the fingers to a satiny sheen.  The second photo is for later comparison: it’s a close-up of the skin of the red-spotted toad: if all goes as planned, what’s white will turn smokey brown-black, and what’s red will be a mix of red and black randomly.

Next the Toadstack is loaded into the galvanized trash can “kiln”.  Surrounded by shredded paper and sawdust of two chunkinesses, and some pine twigs and needles from the Hen’s tree, it will be completely covered before lighting.  Here in Phoenix you’ve got to remember to call Maricopa County Air Quality hotline before ignition to make sure there are no wood-burning bans in place, which this night, there weren’t.  The weather was perfect: cool, and with only a light breeze and no burn-bans, so I torched the can.  The dry combustibles burn fairly fast and sweet-smelling because I use both cedar chips and mesquite twigs from our trees, so within a couple of hours the smoke has dwindled to nearly nothing.  But even after the fire burns down, the heat is still fierce.  If the pieces were to be removed into the cool air they could crack, so I clamp the can’s lid on and let them cool overnight.  The next morning I opened the “kiln”, and unpacked the pieces.  The kiln fates were kind, and no cracks or other problems found, so the Toadstack was taken inside and cleaned up a bit for photographing.  Here is the comparison close-up of the Red-spotted toad’s skin — all is well, and the smoke has made its dramatic and unpredictable changes:

The Stacked Toad Teapot Effigy is destined to be shown at the “Potters as Sculptors, Sculptors as Potters” show organized by St. Louis artist James Ibur at NCECA this year, so it’s hardly fair to unveil it before the opening.  The exhibition will be at:

Mesa Community College, 1833 W. Southern Avenue, 480-461-7524.  Navajo Room, Kirk Student Center  Apr 6-11, 2009.  Mon-Fri 9:00a.m.- 5:00p.m., Sat 9:00a.m.- 2:00p.m.

Potters as Sculptors; Sculptors as Potters: artists included are Dan Anderson, Jeri Au, Dan Barnett, Chris Berti, Victor Bassman, Peter Beasecker, Gina Bobrowski, Susan Bostwick, Joe Bova, Andy Brayman, Wayne Branum, Bill Broulliard, Richard Burkett, Doug Casebeer, Joe Chesla, Linda Christiansen, Eddie Dominguez, Renee Deall, Josh DeWeese, Paul Dresang, Rick Dunn, Tim Eberhardt, Shanna Fliegel, Debra Fritts, Gloria Fuchs, Julia Galloway, Pete Halladay, Sam Harvey, Rick Hensley, Jason Hess, Eric Hoefer, James Ibur, Nick Joerling, Steve Lee, Jimmy Liu, Beth Lo, Allegheny Meadows, Ron Meyers, Boomer Moore, Eric Nichols, Brooke Noble, Lisa Orr, Donna Polseno, Liz Quackenbush, Ruth Reese, Dave Regan, Don Reitz, Allison Shock, Chris Staley, Richard Swanson, Kurt Weiser, Matt Wilt, Betty Woodman, Russell Wrankle, and Luo Xioping.  Utility is the core concept of the show: How does a person working in clay approach it if that is the primary focus of their work?  If it is not, how do they perceive function when it is juxtaposed against their non-functional art?  Many ceramic artists explore and/or exist equally in both the world of function and sculpture.  In this exhibition, the artists will be exhibiting work that explores both of these ideas by presenting two pieces of their work.  Organized by James Ibur.

I’m exhibiting two pieces, the Stacked Toad Teapot Effigy (Toadlier than Teapotly), and Venomosity, a Gila-monster inspired Beastie vessel.

There will be a free reception, open to the public, on the evening of Friday April 10, in the Navajo Room (location, above). Everyone’s invited!

If you can’t make the reception at the Mesa Community College, you’ll have to wait for one Final Increment on this website…  Until then, here is a sneak preview of Venomosity ➤➤