The Evolution of the Magic 104 1 Call Center: Adapting to Changing Times

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Here's an extreme example of what @Melospiza is talking about. I have a variegate Chinese elm that I am growing out to increase the trunk caliper. This summer, it was almost completely defoliated by a tree rat - a very discriminating tree rat that only liked the small leaves. The rat kept returning each night despite my best efforts to prevent it, even crawling under a net that I had placed over the tree. Eventually I moved the tree to the other side of my yard, where it has started to recover.

So the underlying DNA still has all the code for the normal form of the species, so when the epigenetic control is unblocked, the growth reverts to normal. I have seen dwarf spruces revert to normal growth, variegated privet revert to normal, green-leaved privet, weeping cherries revert to upright growth.

Witch broom for grown ups

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Witches Broom

STATEMENT
I grew up in a house of optical phenomena. My father was a physicist with a specialty in optics (although neighbors claimed he worked at the Optical Department at Sears). Lasers, lenses, prisms, and holographs were plentiful; as were lessons on the natural world. In our house, a solar eclipse became a graduate level seminar. On long car trips, we passed the time with questions to stump Dad: Why was the sky orange, what caused hail, and how were tunnels built under the bay? (Incidentally, we refer to these questions now as "Tunnel Talk" questions).

BIOGRAPHY
I begin my paintings with questions like those of "Tunnel Talk" times. What is the color of amber, iron-ore, pollen? How can wind and water be suggested? The paintings gradually grow in layers. In the strata of paint, the shape of a microscopic protein hovers beneath a planet's elliptical orbit and decorative ironwork cancels out dense foliage. It is these strange alliances between the common and uncommon, natural and synthetic that I find compelling to paint. The compressions, connections, and contradictions of the layers shape the personality of the painting.
This knotted, painted combination forces a continual shift of attention among the many levels. I compare this to a single moment in landscape and the competing levels of activity. When I stand on Devonian limestone on the levee of the Mississippi, the barges and riverboats pass, herons fly, behind, a train noisily rumbles and streetlights flicker on, the smell of diesel fuel drifts in while rain clouds build. It's the density of experience that continues to raise questions and excite me as a painter.

Education
INDIANA UNIVERSITY, Bloomington, IN., M.F.A. - Painting, 1988
TYLER SCHOOL OF ART, Temple University, Philadelphia, PA., B.F.A, Painting,1984
Professional Experience
ST. AMBROSE UNIVERSITY, Davenport, Iowa, Professor, 1989-present UNIVERSITY OF TEXAS, El Paso, Texas, Visiting Professor, 1988-1989

When a variegated/dwarf/weeping/fancy-leaved cultivar produces a "normal" branch, that branch is usually more vigorous than the cultivar, i.e., it grows quicker, photosynthesizes better, survives cold and drought more easily etc. This makes sense because the fittest version of the plant is what would survive in the wild. This eventually results in the reverted branch taking over the whole plant, with the 'fancy' part of the plant dying off.
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