Elaina Johann, administrative manager
Because I studied painting when I was an undergrad at the Milwaukee Institute of Art & Design, I often get the question “do you still paint?” The answer is: “yes, I do.” Then I typically discuss how I am a winter painter. The biggest reason for not picking up a brush often in the summer is because gardening is my creative outlet. In our garden, we have vegetables, herbs, and cut flowers in raised beds, happy volunteer sunflowers scattered between raspberry and blueberry bushes, and my current favorite, a front yard of native perennials.
Fortunately, an appreciation for gardening came at an early age. My mom is a professional gardener with an elaborate yard that can transport you to a wonderland. My grandpa was a vegetable gardener who took great pride in the produce he grew in his large garden. Although I did not enjoy weeding and picking endless green beans as a child, I can’t get enough of it now.
In a recent office conversation about weeding, there were differing opinions. Curator of exhibitions Shannon Pueschner agreed with me about enjoying the process, stating, “We’re just painting…editing our gardens” I think she’s right. Each garden in my yard is a different canvas that transforms throughout the season. As late summer blooms emerge, I revel in the success of my expanded perennial garden. Changes are happening daily. Each evening as I stroll through my garden path of locally quarried stone, I explore what’s new, watch bees and butterflies hum from flower to flower, or pull some weeds. Much like painting, it’s a transformative ritual connecting me to the land I call home.
As new native buds appear in my gardens and throughout our Wisconsin landscape, I can’t help but connect even further to artworks in Birds in Art 2026. Two artworks come to mind: Jennifer Felton’s Aria and Lois Peterson’s Silent Lands.
Aria is a seaming weightless showstopper that will have visitors in awe. When I first saw this sculpture as a digital image, I was immediately drawn to its dynamic movement, composition, and lightweight appearance. I also love that it features some of my favorite and familiar flowers! In person, the experience that Felton created is entirely magical and will have you questioning the possibilities of carving with wood.
Jennifer Felton, Aria, 2026, oil on tupelo wood and brass
Silent Lands, appropriately titled, is a quiet drawing. One that I was intrigued by for its use of negative space and arrangements within the larger composition. After reading Peterson’s artist statement, I was even more interested in how she is restoring a parcel of land and trying to do her part in rebuilding avian habitats. You can feel the personal reflection within her work and the shared sadness for humanity’s destruction of many environments.
Lois K. Peterson, Silent Lands, 2026, graphite on Legion Stonehenge paper
There are many more artworks to discover in Birds in Art 2026, opening to the public on Saturday, September 12. Each visit to our galleries is sure to inspire and draw connections to not only gardening, but also so many other interests, hobbies, and queries of the world.
Want to receive Woodson Wanderings directly to your email inbox? Sign up for our blog emailing list today!
