Birthed out of a fascination with ancient technique, Emily’s large-scale botanical tapestries are a lesson in history and a record of today.
“After I take photos of the flower for the composition, I dry the flower, grind it into pigment, and make it into the egg tempera I will use to paint the linen. The subject lives forever in its painting, using a mostly forgotten process of the Old Masters as well as their technique of painting in grisailles to mimic relief sculpture.
The paint is the flower, allowing the flower to live on in its portrait.”
Nothing to see here.