The content of any piece of visual art is multifaceted; although some aspects should be expressible in words, it is a sorry piece indeed whose content is entirely so. The following is therefore not intended to express the total substance of these pieces, but rather be a starting point for their comprehension. The most important feature of this work is the juxtaposition of elements referring to the natural world and those referring to the world of man-made things. This reflects two cherished tenents of the artist regarding the road we are on to destruction of the biosphere. The first is that man and nature can share this planet as members of a healthy, stable ecosystem. The shape of this symbiosis (a notion incompatible with that of dominance) is bound to reflect the ambiquities and confusions of mankind’s ill-defined position between being natural and non-natural. The second tenent is that technology has a crucial role to play in the achievement and maintenance of any benign man-nature interaction. Technology has the presently realized potential to be disastrously destructive of nature, but it is not inherently so: it obeys natural laws. Even should one desire to do so, technology cannot be eliminated; it can, however, be turned to advantage. The survival of the human race is inexorably linked to its relationship with nature, and a great deal of serious pondering and action on the subject of this relationshp is in imeediate oreder if such survivial is to occur. It is hoped that these pieces will be seen as celebrations of this challenge, in all its complexity and internal contradition, and, regarding the achievability of a positive solution, monuments to hope.