Wild Pigment Project: Exhibition Guide

Since 2019, Wild Pigment Project has been a nexus point for the burgeoning global wild pigment movement. For the first time, the artists who have made this project possible are exhibited together in a show featuring their work alongside pigment sets that reflect each artist's unique collaboration with foraged and hand-prepared materials.

“I expunge the poison from the earth to recompose it as the material with which I transfigure the grief and trauma inhabiting me, recomposing it in scenes of joyous rupture."

 Ashlee Weitlauf is a book artist exploring natural pigments, working as a book conservator at the University of Oregon Knight Library. She is a seed and plant enthusiast who finds the convergence of plants and pigments to be irresistible. 

When working with natural pigments, Caitlin often writes prose and poetry so the viewer can get a glimpse into what she was thinking or doing at the time of harvest. Caitlin has multiple sclerosis and moves slowly, but it gives her space to notice the stones and plants around her.

“I do believe that rocks/pigments are intrinsically linked with humans; it is a primal relationship. […] That is why I always display my raw pigments, not just because they are beautiful, but also because I want people to connect with the Earth.”

Heidi’s ochre sanctuary includes hundreds of rocks and dusts gathered and offered by citizens around Earth, including spiritual and cultural ochres such as kōkōwai from Aotearoa (New Zealand) and meaningful planetary ochres like GOE (Great Oxidation Event).

All pigments (except the gold leaf) in this devotional image were grown or gathered by Iris, who has been making animal icons since college.

In her work with mushrooms, Julie often cites this quote by the biologist and author Merlin Sheldrake: “Today, more than 90% of all plant species depend on mycorrhizal fungi. They are the rule, not the exception." 

Named “12 New Mexico Artists to Know Now 2022,” Nina explores geology, ecological processes, and deep time while addressing social justice and transformation with materials like radioactive charcoal and stardust.

 “How do we honour our enslaved ancestors when there are no graves with wilting flowers to freshen, to shed remembrance tears? Their brief, harrowing lives ended in fields of indigo, cotton, logwood, and sugar. Their names listed in colonial ledgers as stock inventory are dehumanising chattel words. Who are they, and how do we mourn them?”

“I feel pigment and all its ancient wisdom holds some of that capacity to connect and heal.” Melissa is a descendant of the Awabakal and Wonnarua nations with ties to the Githabul Bundjalung people.

Nancy grew up on the edge of Oregon’s high desert and rediscovered the joys of the desert palette on a visit back to her childhood home in 1996. She’s worked with colors from over 300 high desert sites and continues to find more.

“Kauae Raro Research Collective [is] the first time my practice has been so ‘outward’-facing; prioritising reciprocity and generosity. I’ve begun to appreciate [that] the act of connecting with people and places is the art.”

Stella is a painter and photographer from Santa Fe, who paints with earth pigments she makes from sand and dirt. In her work she explores desert mythologies, space cosmologies, human body topographies.

“This frac sand issue is big in Wisconsin and there are two refineries near me. Sand falls off trucks and train cars as they transport the sand to use for mining natural gas out East. The dust from the silica sand is dangerous to breathe, because of its fine particles, which can clog the lungs and cause lung damage and cancer, so I’m careful when I gather it.”