“For What Use” (2024)

9in x 12in acrylic on recycled canvas

“These Were Salt Marshes Before” (2024)

11in x 14in acrylic on recycled canvas

“These Were Salt Marshes Before” was submitted and accepted by the SAA for the 18th Inspired by the PEM show! The reception went really well. I gained a lot of insight speaking with various artists about their pieces and how 'Our Time on Earth' inspired them.

In the case of this piece, it is inspired by the instant sense of calm 'Our Time on Earth' presents as one enters the exhibit. It’s The first instruction for the exhbit is to stop and breath. As I did so, I imagined a time when the place I stood was a coastal wetland. An type of ecosystem which once thrived along the East Coast of North America, rich in biodiversity and crucial for the region's ecological balance. However, centuries of urbanization and industrialization have devastated these wetlands, with many drained, filled, or paved over for development. Pollution from urban runoff and industry has further harmed remaining habitats. Only fragments of wetlands remain, threatened by sea-level rise, erosion, and ongoing development. Despite these challenges, recognizing the importance of wetlands as barriers against extreme weather and climate change, as well as their role in carbon storage, offers hope for their preservation. Protecting and restoring coastal wetlands not only safeguards biodiversity but also aids in mitigating climate change by sequestering carbon dioxide, contributing to global efforts to reduce greenhouse gas emissions. Despite this train of thought I was not plunged into the usual dread over the future of our planet. It speaks to to power of these exhibits (and to media as well) that can address the biggest issue on the planet but still have radical, thoughtful, careful hope.

“Thumb Weevil” a tiny tiny 2inx2in piece

Fire suppression p.1 & p.2: “Flame Retardant” & “Building Potential” Inspired by the PEM's ‘Our Time on Earth’ exhibit

I was gladly surprised to see the exhibit’s various optimistic installations, especially the building materials of the future. As a forestry student I am beginning to understand our relationship to our forests differently. In the US, forest policy which aimed to suppress wildfires has contributed to a century-long build up of fuel that would otherwise have been cleared by controlled burns or small spontaneous ground fires. Indigenous peoples shaped the forests of the Americas to require these controlled burns. More and more I realize that indigenous knowledge and collaboration is a necessary part of the stewardship of future. A concept which is present at large at the museum but also specifically within Our Time on Earth. Getting a ‘sustainable’ amount of lumber from our forest still disregards the health and purpose of these trees to a diverse and complex ecosystem. It is essential that we diversify our building material, to include carbon-negative things like mycelium! Natural resources that are close by, and at hand in our local environment, which doesn’t require chopping down a tree 3000 miles away and transporting it to the US. We need local resources whose collective cultivation lead to a sense of community and collaboration. A better future!

My thanks to lane.m.artin for collaborating with me for p.2!

The first picture we remembered to take of this roadside desk-> and the last. Another collaboration with @ lanem.art.in

Wall altars my husband and I made out of plaster and recycled cardboard!

Unlocking the power of plaster has immediately made me want to quit my job and build a hut. Please stop me.

The Byrd Bard

A musician with a secret talent for the banjo..unfortunately he'd rather be known for his skill at French Horn. Which is why he left his job and maxed out his credit to get one. Will it be worth it?! All he has to do is learn it!

Nearly done with this piece!

So happy to be able to say that Lost Moon Holler is finally published. This is a childrens' book that is based upon the mural me and my Husband painted last summer in Charleston, West Virginia. It was written and published by Jeanne Stevenson, the co-owner of Echo-Literary Arts. It is available now!

A wonderful wedding piece for @nosongwithoutyou 🤍🌱

Virgil!

Sanding a roadside piece.. I don’t do this and have never flipped furniture but wanted to make something incredible with this

Sebago Lake's sunbather

Some little pieces from another Saturday stamp session! (The other two left and right are not mine)

Agricultural Fire