This piece is part of a 3-part series shown in a Land Arts of the American West exhibition centered around seeds and plants.

I spent 4 months building a relationship with Datura, researching the plant’s phytochemistry and historic uses, visiting where they grow locally, observing Datura’s relationship with the sphinx moth, and learning what this plant means to me. This textile collage interweaves the ecosystem of relationships that Datura holds; Datura acts as a bridge between the physical and spiritual realm, between strong boundaries and vulnerable intimacy, between day and night. Their toxic psychoactive chemicals command respect from those who try to handle them, their courageous blooms invite moths to get drunk off of their nectar, and their night-blooming tendency teaches us that some of the our most intimate moments happen in darkness. The project required that I carefully investigate Datura since all parts of the plant contain toxic alkaloids, plus, I did not want to extract much of the plant for the sake of my own art, so completing this project was a teeter between respecting Datura’s space while being drawn in for a closer look into the lessons that these plants teach us.

This collage was entirely hand-sewn and naturally dyed (both the fabric and embroidery string), featuring tinted cyanotypes and block prints that highlight the various entanglements that Datura holds. The main dyes used were pomegranate (skins and fruit), green tea, and black tea (all tannin-rich plants), with ferrous sulfate (iron).