Poison ivy from Chester County nature preserve discovered on museum walls.

In an unexpected exploration of nature’s artistic potential, artists Amanda Marchand and Leah Sobsey have engaged deeply with the flora of the Waterloo Mills Preserve, located approximately 15 miles west of Philadelphia. Their experience began last summer when they were introduced to poison ivy by the preserve’s manager, Kevin Fryberger. Fryberger pointed out the ecological value of the plant, noting its importance as a food source for migrating birds and the exclusive dietary dependence of the Poison Ivy Leaf-miner Moth on this plant.

Throughout the summer and into the fall and winter, Marchand and Sobsey gathered a variety of native plant materials, including leaves and twigs from species such as chokecherry, flowering dogwood, and tulip poplar. They also collected invasive plants, like privet hedge and Norway maple, developing a deeper appreciation for the complex interrelationships among various species.

This artistic endeavor diverges from traditional plein air painting; instead of creating landscapes directly in nature, the artists transported their collected materials to their studios, where they employed creative methods to render their natural surroundings. They processed the plant materials by tearing leaves and grinding flower petals, producing vibrant natural pigments to apply onto paper, resulting in works that embody the colors of the landscape itself.

Marchand and Sobsey found inspiration in the works of poet Emily Dickinson, particularly her herbarium—a collection of pressed plants that Dickinson began nearly two centuries ago. The artists were motivated by a desire to reconstruct the frangible pages of Dickinson’s collection, housed at Harvard’s Houghton Library. Eager to replicate this botanical catalog, they identified and cultivated 66 plant species featured in Dickinson’s album, generating artwork using techniques such as ink-paint making and solar printing.

Their efforts culminated in two site-specific commissions for an exhibition hosted by the Brandywine Conservancy and Museum. One piece, titled “Talk not to me of Summer Trees,” is a visual representation of seasonal change, featuring prints created from the collected plant materials. The work articulates an aesthetic transition from vibrant summer greens to the autumnal and winter hues of plants.

Another piece, “Estranged from Beauty None Can Be,” comprises sun prints produced from both native and non-native species found within the preserve. These works reflect the dynamic interplay between the artists, the environment, and the timeless legacy of Dickinson’s botanical interests.

These art pieces are currently displayed in the exhibition “This Earthen Door: Nature as Muse and Material” at the Brandywine Museum of Art, celebrating both the artistic process and the conservation efforts of the Brandywine Conservancy, which aims to protect significant landscapes in the region.

As visitors engage with the exhibition, they are encouraged to reflect on the natural colors and materials that surround them, fostering a renewed awareness of the often-overlooked beauty found in local flora. This innovative artistic approach not only honors Dickinson’s legacy but also highlights the vital connections between art, nature, and environmental stewardship.

This Earthen Door exhibition runs through September 7 at the Brandywine Museum of Art in Chadds Ford, Pennsylvania. Additional works by Marchand and Sobsey can be viewed at Rick Wester Fine Art in New York City.