Théo Jonsson film : Instrument of nature.

Instrument of Nature, a short video about Théo’s work drawing from nature, instinct and creativity.

Artworks for Environmental and Cultural Awareness

Théo has been working as an artist and anthropologist. Her work makes visual comparisons in the relationships between nature and humans. Since 2005, she has been working on projects in living cultural heritage that involve immersing herself in another culture and collaborating with native people in an endeavor of their own making, see above “Art in Community.”

Théo works from a direct connection with the land. “Exploring the geology of the Pacific Northwest and British Columbia coastline, by foot and by boat, have shaped me.” between highest peaks and the deepest fjords I find a fragility and balance on the thin, human plane we occupy.

She has collected tree saps and resins from the Pacific Northwest and worldwide to reduce resins into painting and printmaking ink. Peat fens and bogs have been of particular interest to her in Ireland (2008) and in the Pacific Northwest. The ancient, oxygen deprived atmosphere in the fens, cause trees to be must older than they appear and foster the survival of rare medicinal plants. Pine trees exude a resinous sap here and thrive with other acidic plants. Her unique research into the cultural evolution of ancient paint binders and resins is reflected in her work and master studies at Simon Fraser University, BC (2021).

Théo has made a variety of prints from the sound vibrations of species of whales and etched the call patterns in blown, slumped and caste glass forms. The forms evolved through observing shapes transformed by moving water, rock and ice. The material process of transformation due to heat, cooling and tension interests me, speaking of eons of evolution and the climate changes currently affecting sea mammals and humans, mirroring experiences of reduction, decay and regeneration.

Her work has been exhibited at the Museum of Northwest Art, The Whatcom Art Museum, Pilchuck Glass School, Waterford Arts, Cygnus Gallery, Perry Carlson Gallery, Smith and Vallee Gallery, Kinsale Gallery One, the University of Washington, The National Liberty Museum, Philadelphia, OMAI International Exhibition, Mendoza, Argentina, Studio One International Art Festival in Kinsale Ireland, Wellington International Arts Festival, Arte Contemporanea in Rome Italy, and the International Sculpture Exhibition in Munster Germany.

www.theodorajonsson.com/ofmethodandmeaning.com 

Recording tree root sounds and playing improvisational viola composition.

Reciprocity

“Reciprocity” is a paint and sound collaboration with plants, specifically old growth trees connecting miles of nutrients and communication among trees, and, kelp forests, connecting and feeding sea life from the depths to surface light. 

A painted scroll, 5’ X 17,’ titled Reciprocity, was made from oil painting made with collected tree resin and charcoal on Yupo paper. Interactive glass bone with audio headphones plays a music collaboration by the artist with live recordings from the roots of an old growth cedar. The audience can listen to the recordings of fluid passing through root systems.

Roots and mycelium run underground to find water seeps and springs flowing out of cliffs. The painting was made with charcoal and resin collected from a cathedral of weathered Doug fir and spruce trees on multiple climbing trips to the top of Calendar Butte. By thinning the oil paint with resins from these trees, the paint functions like watercolor. 

We exist in reciprocity with energy in plants and organisms. I play viola music composed in reciprocity with the live recordings from the root sounds of a tree and underwater sounds of kelp forests. 

We are in relationship with the roots connecting these trees to under-ground seeps and crevices we climb to reach them. 

Calendar Butte can be found on MountainProject.com

A film inspired by the largest storm in eighty years off the coast of South-West Ireland, Théo made a rock rubbing off the sea cliffs at Garrettstown, Co Cork., and stumbled upon a curragh builder to make a film about the past, present and future, exploring her Irish ancestry.

The Ceremony Of Painting

The Ceremony Of Painting is a process of creating from a place of meaning. Collecting tree saps and kelp mucilage and combining resin binders with pigments draws on practices used in ancient spiritual temples, grottoes and caves.

Spruce tree resin with walnut oil pigment….

Kelp mucilage combined with ink in The Council of Kelp, below….Théo swims out to collect kelp in kelp gardens off Deception Pass, prints the kelp and makes paints by combing the mucilage with ink to paint an energetic dance with kelp. Théodora plays violin and sings in a baltic influenced lament called mirológi stemming from the polysonic songs from Epirus, the birthplace of her namesake Saint Theodora.

Undersea color spectrums hold various species of whale calls made as an artist in residency at the University of Hawaii, Honolulu,  in 2018.

Mine Eye……blown glass whale bone and mirror.

A close up of life size adult and baby whale with human in

“Eye to Eye” brings into question our interchangeability with another species such as the Baleen Whale. Our correspondence with these large mammals has been divided in the past. Our future is dependent upon the survival of their species and brings us nearer to standing in their skin.  The Eye to Eye series was made in conjunction with Tarang Khangaonkar, an oceanographer with Skagit Climate Science Consortium. Through his research, he is currently simulating acidification and the carbon cycle in the Salish Sea. The data showing ocean Ph levels changing from the year 1900 and projected to 2100 is reflected in the markings on the human’s walking stick in the painting on the right.

Théo listening to underwater sea sounds where she plays music live in collaboration with sea life.

A spontaneous collaboration with an approaching storm moved me to play music with the rushing currents of Deception Pass, Washington.

 
 

Of Method and Meaning