Environment, Nature, and Sacred Landscapes

Kay WalkingStick's Salmon River Valley (2023) merges her Native heritage with her view of the land as a living, spiritual entity. Through her rich brushwork, the valley is not just a physical place—it’s a narrative of ancestry, memory, and culture.

Magdalena Abakanowicz's sculptural practice merges raw materials with organic forms, reflecting a deep, elemental connection to the earth. 

Francesca Mollett’s Lip (2022) evokes fragmented, subterranean landscapes through layered oil and acrylic on calico. Its rich textures and collage-like structure explore natural patterns and shifting states of consciousness.

Hilary Pecis turns domestic scenes into vivid, sunlit paintings, celebrating the intimacy of lived environments and the quiet beauty found in ordinary places.

FIRST NAME Murphy’s immersive landscapes blur human presence and nature, evoking sacred, liminal spaces that highlight our deep connection to and dependence on the environment.

In Window Series #4 (1973), Mary Obering uses pure form and color to illuminate a view into a timeless, elemental world. Her careful application of oil and geometry transforms the canvas into a “window”— framing light, space, and serenity—a view into nature's hidden order.

Suzanne Jackson’s Migration (1998) parallels her journeys from Saint Louis to San Francisco, Alaska, and Savannah — landscapes that profoundly shaped her art and sense of place.

Takako Yamaguchi’s Catalyst (2023) merges Japanese screens, Mexican muralism, and European traditions. Her seascapes become rich, hybrid spaces—challenging pure abstraction and blending multiple histories.

FIRST NAME Saldanha’s art bridges Brazilian Modernism and traditional craft, blending bamboo’s cultural significance with modern abstraction to create a dialogue between heritage and contemporary practice.

Miyoko Ito’s Untitled (#118), YEAR, merges abstract form with traces of landscapes, interiors, and the human body—reflecting her unique influences of Cubism and Chicago’s surrealism.