Théodora Jonsson-Curran

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 

 

 

Of Method and Meaning began as a series of discussions and collaborations with fellow artists worldwide reflecting on their studio life, work and customs. Conversations sparked by curiosity and other esoteric discussions:

Théo and Johanna N. Marquis sought out ancient trees for over two decades. She sat among them and hiked and slept beneath their arbors. Entranced by their lifespans and growing ecosystems intertwining our lives, stories and futures….we engaged activism in our efforts to save them and to educate others of their significance.

Painting “every step a prayer” on the ancient remains of cedar and Doug fir giants washed up on our west coast beaches, making signage beneath ancients whose exposed roots were being trodden, collaborating in painting events beneath the trees and in public areas by creating large scrolls illustrating the gestures and movements these tree beings inhabit inspired awe and conversations with passers-by about them. In these moments, I was left with a feeling of reverential respect mixed with fear and wonder for our lives and theirs.

An island off Tofino on the west coast of Vancouver Island, British Columbia, hosts roughly twelve of these ancient trees. A short ride in a skiff from town will get a person there and a good pair of hiking boots for the rough trails strewn with trunks and branches from winter storms.

Théodora speaks with people, artists and elders, connecting through story, about their life’s work. This project is a series of discussions with creative people who share a method of working by drawing on a process from a sense of place.

 

 
 

Of Method and Meaning