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Wild Pigment Project
Exhibition Guide

Wild Pigment Project: Exhibition Guide

  • Melissa Ladkin at Form & Concept
    Melissa Ladkin, Paper bark with ochres.

    Director's Note

    Jordan Eddy
    Community-building among wild pigment practitioners is a challenge: these artists are out there, often living and working alone or in very small communities. Conversations unfold slowly in this world; even digital communiques can feel like messages in a bottle. Thus, this exhibition grew slowly like a plant and settled in layers like sedimentary stone.
    Read more.
  • Melonie Ancheta at Form & Concept

    Melonie Ancheta, Carbon black, vivianite, red iron oxide.

    Curatorial Statement

    Tilke Elkins
    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.
    Read more.
  • Installation Views

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  • Program

  •  
    Watch on Vimeo.
  • Artists

  • Adi Blaustein Rejto at Form & Concept

    Adi Blaustein Rejto

    “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."
    Read more.
  • Amanda Brazier at Form & Concept

    Amanda Brazier

    “My work explores shelter in the context of our relationship with land and each other, […] constructing a painted sanctuary embedded with the quiet witness of the land."
    Read more.
  • Ashlee Weitlauf at Form & Concept

    Ashlee Weitlauf

     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. 
    Read more.
  • Brittany Boles

    Brittany Boles

    “Working at the intersection of indigo as a whole is a journey of acknowledgement of global relationships with indigo-bearing plants and the myriad of cultures that influence my practice.”

    View the work.
  • Cailtin Ffrench at Form & Concept

    Caitlin Ffrench

    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.

    View the work.
  • Caroline Ross at Form & Concept

    Caroline Ross

    Caroline is an English forager of “art materials from a world that ended a thousand years ago.” She is part of the Dark Mountain network and the Wilderness Art Collective.

    Read more.
  • Catalina Christensen at Form & Concept

    Catalina Christensen

    “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.”

    Read more.
  • Daniela Naomi Molnar at Form & Concept

    Daniela Naomi Molnar

     “[Wandering Winterkill], like all pigments, is a force and a form. I hope it evolves more forms in the world that are portals to radical conviviality with grief, with love, with life in all its insistence.”

    Read more.
  • Heidi Gustafson at Form & Concept

    Heidi Gustafson


    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).

    View the work.
  • Hosanna White at Form & Concept

    Hosanna White

    "I knew that if I wanted to collect this pigment to bring home with me, I’d better ask permission. The regard with which my new friends held the clay felt antidotal to the woes of a sick society that displaces its pain upon the land and so carelessly damages its vitality."
    Read more.
  • Iris Sullivan Daire at Form & Concept

    Iris Sullivan Daire

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

    Read more.
  • Joshua Ruder at Form & Concept

    Joshua Ruder

    Josh fell in love with marble in Vermont’s abandoned quarries, surrounded by the remnants of a massive industrial landscape that nature has been able to creep back into and reclaim.

    View the work.
  • Julie Beeler at Form & Concept

    Julie Beeler

    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." 
    Read more.
  • Karma Barnes at Form & Concept

    Karma Barnes

    Karma’s installations are made from soil pigments and minerals gathered from wide-ranging terrains and pre-disturbed sites. She draws on large numbers of people to collaborate on colossal projects.

    Read more.
  • Nina Elder at Wild Pigment Project

    Nina Elder

    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.

    View the work.
  • Lorraine Brigdale

    Lorraine Brigdale

    “Learning and developing my ochre explorations alongside an ever-growing knowledge around my YortaYorta Aboriginal family brings me joy, sadness and a real feeling of belonging at last.”

    View the work.
  • Lucille Junkere

    Lucille Junkere

     “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?”

    Read more.
  • Marjorie Morgan at Form & Concept

    Marjorie Morgan

    “Working with handmade, natural inks integrates so many parts of myself: spiritual, scientific, artistic, environmental, culinary, magical and creative. Collaborating with living/changing materials allows me to develop qualities of patience, compassion and adaptability.”

    Read more.
  • Melissa Ladkin at Form & Concept

    Melissa Ladkin

    “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.

    Read more.
  • Melonie Ancheta at Form & Concept

    Melonie Ancheta

    “Because I have a special affinity for xóots (Tlingit for black bear) I often dream of black bears who inspire my designs.” Ancheta’s research has indicated the consistent use of red, black and blue (or green) pigments for more than 4,000 years among Pacific Northwest Coast Indigenous people.
    Read more.
  • Nancy Pobanz at Form & Concept Gallery

    Nancy Pobanz

    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.
    Read more.
  • Natalie Stopka at Form & Concept

    Natalie Stopka

    “The plants provide me with a seasonally evolving vocabulary of texture and color generated from the soil beneath my feet and the water moving through it.”
    Read more.
  • Sarah Hudson at Form & Concept

    Sarah Hudson

    “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.”
    View the work.
  • Scott Sutton at Form & Concept

    Scott Sutton

     A single salmon scale contains growth rings that indicate the number of years the salmon has lived. Printed with indigo blue extracted from the leaves of Japanese indigo / Persica tinctorial, grown on Multonomah Chinook territory at the Portland Harbor Superfund site. Produced during a series of paint-making Lifeways classes Scott offered at the offices of the Confederated Tribes of Grande Ronde in Portland.

    Read more.
  • Stella Maria Baer at Form & Concept

    Stella Maria Baer

    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.
    Read more.
  • Sydney Matrisciano at Form & Concept

    Sydney Matrisciano

    “My research combines socio-legal methodology with artistic practice, centering traditional techniques in embroidery and photography with natural pigments, to highlight overlooked aspects of a scene, such as the enduring effects of whiteness in Mississippi landscapes.”

    Read more.
  • Teri Power at Form & Concept

    Teri Power

    “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.”

    Read more.
  • Thomas Little at Form & Concept

    Thomas Little

    “An inkblot made with gun-derived magnetite and doped with valerian root extract operates as a negative chemotactic stimulus for Physarum polycephalum, a large primordial amoeba that is inoculated with gun-derived red iron oxide. A kind of ghost anatomy, hovering in the liminal space between living organism and supernatural entity.”
    Read more.
  • Artworks

    • Caitlin ffrench, Grown and Gathered, 2022
      Caitlin ffrench, Grown and Gathered, 2022
    • Caitlin ffrench, Pigment set, 2022
      Caitlin ffrench, Pigment set, 2022
    • Brittany Boles, Sandhill Migration, 2022
      Brittany Boles, Sandhill Migration, 2022
    • Julie Beeler, Fungi Symbiosis, 2021
      Julie Beeler, Fungi Symbiosis, 2021
    • Julie Beeler, Cortinarius sanguineus pigment, 2022
      Julie Beeler, Cortinarius sanguineus pigment, 2022
    • Melonie Ancheta, xóots, 2022
      Melonie Ancheta, xóots, 2022
    • Thomas Little, Induction Resonator (series), 2021
      Thomas Little, Induction Resonator (series), 2021
    • Thomas Little, Dissolved Revolver Sumac Ink Ampule, 2022
      Thomas Little, Dissolved Revolver Sumac Ink Ampule, 2022
    • Ashlee Weitlauf, Petal Wheel, 2020
      Ashlee Weitlauf, Petal Wheel, 2020
    • Iris Sullivan Daire, Red Winged Blackbird - Patron Saint of Edges, 2022
      Iris Sullivan Daire, Red Winged Blackbird - Patron Saint of Edges, 2022
    • Iris Sullivan Daire, Pigment Set with Booklet, 2021-2022
      Iris Sullivan Daire, Pigment Set with Booklet, 2021-2022
    • Iris Sullivan Daire, Pigment Set, 2021-2022
      Iris Sullivan Daire, Pigment Set, 2021-2022
    • Scott Sutton, Superfund Salmon Scale, 2020
      Scott Sutton, Superfund Salmon Scale, 2020
      $ 300.00
    • Scott Sutton, Superfund Salmon Life Cycle, 2020
      Scott Sutton, Superfund Salmon Life Cycle, 2020
      $ 300.00
    • Scott Sutton, Indigo-clay blue pigment in glass vial
      Scott Sutton, Indigo-clay blue pigment in glass vial
    • Adi Blaustein Rejto, July 4th, 2021, 2021
      Adi Blaustein Rejto, July 4th, 2021, 2021
    • Nina Elder, An Incomplete List of Everything in New Mexico, 2021
      Nina Elder, An Incomplete List of Everything in New Mexico, 2021
    • Daniela Naomi Molnar, New Earth 26 (Alaska), 2022
      Daniela Naomi Molnar, New Earth 26 (Alaska), 2022
    • Karma Barnes, Compounded Caldera, 2022
      Karma Barnes, Compounded Caldera, 2022
    • Karma Barnes, Raw Earth Pigment Palettes of Australia, 2022
      Karma Barnes, Raw Earth Pigment Palettes of Australia, 2022
    • Melissa Ladkin, Wirobaliko–follow, 2022
      Melissa Ladkin, Wirobaliko–follow, 2022
    • Heidi Gustafson, Ochre Windows - Pacific Northwest, 2022
      Heidi Gustafson, Ochre Windows - Pacific Northwest, 2022
    • Heidi Gustafson, Pigments gathered where I live, 2022
      Heidi Gustafson, Pigments gathered where I live, 2022
    • Joshua Ruder, On the Path , 2021
      Joshua Ruder, On the Path , 2021
    • Marjorie Morgan, Jellyfish Wave, 2019
      Marjorie Morgan, Jellyfish Wave, 2019
    • Marjorie Morgan, Natural Ink Set
      Marjorie Morgan, Natural Ink Set
    • Marjorie Morgan, Selection of Samples, 2020 – 2022
      Marjorie Morgan, Selection of Samples, 2020 – 2022
    • Nancy Pobanz, Stratifying, 2016
      Nancy Pobanz, Stratifying, 2016
    • Nancy Pobanz, SE Oregon Mineral Pigments
      Nancy Pobanz, SE Oregon Mineral Pigments
    • Amanda Brazier, Way I, 2022
      Amanda Brazier, Way I, 2022
    • Amanda Brazier, Way II, 2022
      Amanda Brazier, Way II, 2022
    • Amanda Brazier, Way III, 2022
      Amanda Brazier, Way III, 2022
    • Amanda Brazier, Chattanooga Pigment Set, 2022
      Amanda Brazier, Chattanooga Pigment Set, 2022
    • Lucille Junkere, From the Series, Ancestral Libations: Allegories of Honouring and Remembrance, 2022
      Lucille Junkere, From the Series, Ancestral Libations: Allegories of Honouring and Remembrance, 2022
    • Lucille Junkere, Pigment Set, 2022
      Lucille Junkere, Pigment Set, 2022
    • Stella Maria Baer, Gila Rock Moon (2), 2022
      Stella Maria Baer, Gila Rock Moon (2), 2022
    • Stella Maria Baer, Gila Rock Moon (1), 2022
      Stella Maria Baer, Gila Rock Moon (1), 2022
    • Catalina Christensen, Ancestral Connection
      Catalina Christensen, Ancestral Connection
    • Catalina Christensen, Orange Ochre Pigment
      Catalina Christensen, Orange Ochre Pigment
    • Catalina Christensen, Purple Ochre Pigment
      Catalina Christensen, Purple Ochre Pigment
    • Catalina Christensen, Yellow Ochre Pigment
      Catalina Christensen, Yellow Ochre Pigment
    • Caroline Ross, Beneath the Labyrinth, 2022
      Caroline Ross, Beneath the Labyrinth, 2022
    • Caroline Ross, Alchemical Color Sets
      Caroline Ross, Alchemical Color Sets
    • Teri Power, Overreach, 2021
      Teri Power, Overreach, 2021
    • Natalie Stopka, Sounding III, 2020
      Natalie Stopka, Sounding III, 2020
    • Natalie Stopka, Pigment set, 2022
      Natalie Stopka, Pigment set, 2022
    • Sydney Matrisciano, Redneck Recreation, 2021
      Sydney Matrisciano, Redneck Recreation, 2021
    • Hosanna White, Her Land
      Hosanna White, Her Land
    • Hosanna White, Relatives, 2022
      Hosanna White, Relatives, 2022
    • Lorraine Brigdale, Malka 3
      Lorraine Brigdale, Malka 3
      $ 65.00
    • Sarah Hudson, Return, 2022
      Sarah Hudson, Return, 2022
  • About the Curator

    About the Curator

    Wild Pigment Project Founding Director Tilke Elkins (‘TIL-kah EL-kins’) has been researching, foraging for and painting with botanical and mineral pigments since 2008, with particular focus on the magic that happens when plant and stone pigments are combined. In addition to curating Wild Pigment Project at form & concept, she is presenting a concurrent solo exhibition at the gallery titled Records of Being Held.

     

    She leads group collaborations through classes and workshops, and co-organized the inaugural Pigments Revealed Symposium in June 2021.  Artists interested in working with Elkins can view all currently offered classes here, or send inquiries to info@wildpigmentproject.org.

    Learn more.
  • Header imagery (in order of appearance): Daniela Naomi Molnar, Lucille Junkere, Karma Barnes, Nancy Pobanz.
 

435 S. Guadalupe St.
Santa Fe, NM 87501

info@formandconcept.center
(505) 780-8312

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