SUNSHOWER -Photomicrograph of crystalline phenylethylamine (found in chocolate)
View from the Vashon Studio/Lab
April weather on Vashon has a reputation for mood swings. One day arrives with sunlight, new growth, and promise; the next brings cold wind, steady rain—or, as was the case last week, a brief return to snow. A reminder that winter hasn’t quite left town.
And yet, something is shifting.
The blossoms of the wild plum trees and the seemingly endless shades of green emerging in the woodlands suggest that spring is slowly, persistently, unfurling toward longer—and warmer—days.
Inside the studio, a similar transition is underway.
Recent work has been moving into richer, more layered forms, particularly in a new series of chocolate crystals. These have a different presence—sometimes linear, others more atmospheric—where structure begins to soften and the images take on a more immersive, almost landscape-like quality. I’ll be sharing a couple of these new pieces in this month's newsletter.
I’ve also been experimenting with new ways of sharing the work beyond the studio—through a series of recent posts on LinkedIn and some early writing that explores my encounters with art and science more expansively. Those ideas are beginning to take shape, and you’ll see more of that thread woven into what I share here in the coming months.
For now, back to the lab—and to the quiet and highly enjoyable process of exploring the ever changing crystalline patterns that appear under my microscope.
— Lee
Vashon Island · April 2026
There’s something about this time of year that sharpens the act of looking.
Subtle changes become easier to notice—shifts in light, emerging patterns, colors that weren’t visible even a few weeks ago. It’s a reminder that what we see is often less about what’s there, and more about how we’re able to perceive it.
ART AND SCIENCE: World War I and Why Zebras Have Stripes
In 1917, the Royal Navy had a serious problem.
German U-boats were sinking an alarming number of merchant and naval ships—upwards of eight each day—and the Navy was running out of ideas. Traditional camouflage had failed. Hiding a large vessel across changing light, weather, and sea conditions proved nearly impossible.
So instead of trying to hide the ships, a different idea emerged:
What if they could confuse the enemy instead?
And when confusion is the goal, who better to call than an artist?
Artists are, after all, masters of illusion. With their understanding of light, shadow, and perspective, they were uniquely suited to rethink the problem. So the Navy brought together a group of painters, sculptors, and stage designers to tackle it.
What they developed became known as disruptive camouflage.
Rather than conceal an object, disruptive camouflage breaks up its visual outline using high-contrast patterns—stripes, spots, or jagged forms—making it difficult to interpret shape, speed, and direction. It’s a strategy found throughout the natural world.
Dazzle-Ships in Drydock at Liverpool (1919) by Edward Wadsworth
A zebra’s stripes are a perfect example.
One of the key figures in the Navy’s effort was the artist Norman Wilkinson, a marine painter who proposed covering ships in bold, fractured patterns designed “to distort the external shape by violent color contrasts.” The goal wasn’t invisibility—it was misdirection.
Over 4,000 British merchant ships were eventually painted in what came to be called dazzle camouflage, along with hundreds of naval vessels beginning in August 1917. No two designs were exactly alike. The sheer variety made it difficult—even for the Navy—to determine precisely how effective the strategy was.
The idea didn’t go unnoticed in the art world. Pablo Picasso reportedly remarked that the Cubists had invented it first.
Dazzle camouflage was largely phased out by the start of World War II. But the underlying question remains:
If these patterns don’t truly hide an object… why do they exist in nature?
Which brings us back to the zebra.
For years, scientists assumed stripes might confuse predators. But more recent research suggests another explanation: stripes may interfere with biting flies. Experiments in which horses were fitted with striped coverings showed that flies had significantly more difficulty landing on striped surfaces than on solid ones.
It’s a reminder that even when we think we understand something, nature often has its own logic.
So why do zebras have stripes?
Because they don’t want to be spotted.
SOLILOQUY -Photomicrograph of crystalline phenylethyamine (found in chocolate) and lactic acid (found in wine)
Follow along on LinkedIn
I’ve been sharing new crystal images, short videos, and observations from the studio more regularly on LinkedIn. It’s become a place for work-in-progress and ideas as they take shape—if you’d like to see what’s emerging between newsletters, you’re very welcome to join me there.
For Designers and Architects
I’ve quietly introduced a Trade Program for designers and architects specifying artwork for residential, healthcare, and commercial projects. It includes trade pricing along with support for sizing, materials, and large-scale installations. You can learn more here.
