The Standing Dead: Under a Changing Sky

2021 – 2026

A non-human community project which includes works on paper, free standing sculptures and audio components.

Project Statement

Each summer in my home state of Montana -and across much of the western U.S. and into Canada- the threat of wild land fires looms large. In the spring of 2021, while hiking in a burned forest near my home in Greenough, Montana, I was struck by the contrasting states of devastation and renewal. The landscape felt both fragile and strangely beautiful. The fire had occurred in 2017, leaving most of the lodgepole pine, western larch and ponderosa pine trees killed. The black trees stood in stark contrast to the young seedlings of ponderosa pine, western larch, and whitebark pine seedlings that the National Forest Foundation had planted since the fire. Fireweed, arnica, lupine and scarlet paintbrush were some of the plants that had returned and color dotted the landscape.

The charred remains of trees in forests devastated by extreme wildfires due to our rapidly changing climate serve as the conceptual and material foundation for The Standing Dead. Through my artworks, I seek to capture their presence in death and honor their existence, while examining the broader ecological and existential narratives they embody. This portrait series serves as both a lament and gesture of atonement for these once-living indispensable members of our forest.

Process

To echo my deep commitment to working with and within the living landscape, and to honor the forest as collaborator rather than merely my subject, this project merges materiality with ritual, speaking to themes of both impermanence and transformation. Ancient forms of mark-making come to mind as charcoal becomes both medium and metaphor.

I begin the engagement by identifying charred trees in the forest and place wet sheets of sustainable Japanese papers directly in contact with a burned trunk. I then coat my hands with the charcoal remains of the tree and run them along the paper, down the length of its scorched bark, creating an intimate haptic dialogue between myself and the once-living being.

After I create the charcoal tree rubbings in the landscape, I photograph and digitally convert them into negative form. I make larger-than-life scale digital prints from these files on bamboo paper. Finally, to deepen the connection between subject and image, I rub more of the tree's charcoal into the surface of the prints -an act that imbues each piece with tactile intimacy. The resulting final works are both documents and meditations, visual elegies that grapple with loss while pointing toward resilience, inspiring awareness of shared vulnerability.

Tree Portraits /
Works on Paper

I title The Standing Dead portraits with human familial names, such as Cousin or Grandmother to underscore how deeply human lives are entangled with those of trees. By using kinship terms, I reference their own families and communities and honor them as sentient beings.

Woven Sculptural Works

Artist weaving strips of prints into sculptural vessels in her studio, 2025

This project includes a series of sculptural works of large, vertically oriented vessels. These forms are created by the artist by weaving repurposed draft prints from the portrait series of burned trees. To create the sculptures, each draft print is methodically hand-cut into narrow strips and manually woven to create complex patterns and surfaces.

When installed in the exhibition, each vessel is fitted with an internal weighted support, ensuring structural integrity and stability throughout the scheduled installation.

Woven vessels in the artist's studio, 2025
Sizes range from 6"-10" diameter to 75"-87" tall.

DETAIL, Woven vessels in the artist's studio, 2025
Sizes range from 6"-10" diameter to 75"-87" tall

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