<\/a><\/p>\nMallary Johnson, \u201cRe-Collect I.\u201d
\nPlant extracts on woven paper
\n34 3\/4 \u00d7 27 1\/2 in<\/p>\n<\/div>\n
AN: I love that. Definitely brings new meaning to organic geometry. As you mentioned, you made dyes for these pieces using your own plant-based extracts. What role does pigment-making play in your process, and why take the time to do it?<\/strong><\/p>\nMJ: There are many reasons why I choose to create pigments from plants. The project where I began to work with plant-based dyes is entitled\u00a0Rituals for Remembering<\/em>. At the time, I was looking for a way to create earth-friendly non-toxic pigments to use in my work. Rather than interpreting the landscape through a visual representation, I thought it would be interesting to collude with the living landscape as part of the work. After experimenting with a variety of approaches, including grinding minerals to make paints and burning wood for charcoal, I settled on making dye extracts from plants. As a gardener, this process resonated with me on multiple levels. The ritual of cooking down the extracts allowed time to reflect on the source and cultural applications of the plants and translating weaving techniques into colorful paper collages tapped into the richly layered history of textile design.<\/p>\nAN: How does time enter into the representation of landscapes, for you?<\/strong><\/p>\nMJ: Issues of time are central to my interpretation of landscape. Despite the intense pace required by everyday life in contemporary Western society, there are a variety of scales of time occurring in nature. My work reflects upon that. I am constantly searching for a way to pause, to expand time. Often I achieve this through my techniques. For example, when drawing or weaving, I employ very precise, repetitive processes that require intense focus. This strategy opens up a contemplative space surrounding the subject that I hope translates to the viewer. I am also very influenced by Slow Movement philosophy, which encourages taking the necessary time to consciously think about and experience the various activities in our everyday life. By doing so, more intentional decisions can be made regarding the material, social and environmental factors involved in daily decisions. I apply this philosophy to my choice of mediums and the way I structure my creative process.<\/p>\n
AN: Final question for you, Mallary, though I wish I could ask more. How can art play a role in giving us a sense of rootedness?<\/strong><\/p>\nMJ: This is a great question and a difficult one to answer succinctly. Art has a vast toolkit of ways to provide a sense of rootedness in many mediums. What I find especially interesting is the ability of art to provide space for shared experience where the creation of new ideas, identities, relationships, or communities can be established.<\/p>\n
\u2026<\/p>\n
Looking at Mallary Johnson\u2019s works, rich and subtle earth colors will pull you in, and patterns reminiscent of the inner growth of plants, the bend of grass in woven baskets, and layers of sediment gathered at the bottom of a lake will transfix you and take you deep into other times, while the works themselves remain contemporary, novel, and bright. Certainly the works of each artist in\u00a0Reinterpreting Landscape and Nature\u00a0<\/em>will draw you back into nature in exciting and powerful new ways. You can visit the exhibition at Stanek Gallery, September 9 \u2013\u00a0October 29, 2016<\/span><\/span>. Gallery hours: Thursday \u2013\u00a0Sunday<\/span><\/span>,\u00a0noon \u2013 5 p.m.<\/span><\/span>\u00a0Learn more at\u00a0www.stanekgallery.com<\/a>.<\/p>\n<\/div>\nBest jordan Sneakers<\/a> | Best Selling Running Shoes<\/a><\/span>