Share:
About Christine
Baltimore City
Christine Neill is a nationally exhibited American artist whose work blends motifs of biological examination with visual processes and techniques. The effects of environmental changes and invasive species on human life and the reaction of earth’s habitat to these threats underlie all her images. She is represented by Goya Contemporary, Baltimore, MD.
Neill comments on ways Covid 19 pandemic has impacted her studio work:
I watched with great sadness as the corona virus spread throughout the world, putting my research travel and in-process… more
Invasive
-
HoleyLeaves-Emerald.jpgInvasive insects, such as the Emerald Ash Borer, chew holes in the leaves of mature trees, defoliating the branches and effectively weakening or killing the trees. The holes were laser cut and cast a shadow on the paper behind. -
Death by Fig.jpgThe Strangler Fig invades healthy hosts by casting seeds from the height of its branches which grow downward toward roots and trunks. After several years the encased host will die because it is deprived of the ability to turn sunlight into nutrients. The green drawing of a palm trunk is digitally printed on the inside of the Plexiglas. -
Hidden in the Slag.jpgI attended a residency at The Studios of Key West in December ’17-January ’18, three months after destructive Hurricane Irma ripped up the Florida Peninsula, leaving piles of manufactured and plant debris throughout Southern FL. At Everglades NP we questioned a ranger about water flow through the park and creatures found there, asking specifically about Burmese Python. She replied, ”Oh, they’re there, but you’ll never see them.” It became a metaphor as we explored Key West; some were at once obvious, some hidden in the background, intriguing or ugly, sometimes we saw them at once; others were revealed slowly later with a surprise. -
Pods.jpgInvasive Asian Water Chestnuts (inedible), painted in watercolor, are precariously stacked against a digital print ground of harmful giant hogweed and caterpillar tents. These species are non-native and severely threatening the environments in which they have taken hold. -
Pod InvasivePod Invasive, 2015, Watercolor, archival inkjet print on paper, mounted on panel, 11” x 14” A non-native seedpod, painted in watercolor, sits within layered photographs of the environment which it has invaded and is destroying.
Mixed Media Paintings
-
Split Philo Uva StippleSplit Philo, Uva Stipple, 2016, Watercolor and archival ink print on paper, 24” 35” x 39.5”, -
Toxic Beauty, Queen Emma2011 Watercolor & Archival Ink Jet Print, 35 x 47 in -
Orpheus Orchid2011 Watercolor & Archival Ink Jet Print, 47 x 36 in -
Aechmea Caracas2008 Watercolor & Archival Ink Jet Print, 43 x 28.5 in -
Monarch Milkweeed2009 Watercolor & Archival Ink Jet Print, 46.5 x 35 in -
Papaya Nuevo2011 Watercolor & Archival Ink Jet Print, 47" x 32" -
Stephanotos Split2010 Watercolor & Archival Ink Jet Print, 29"x42" -
Beachbush Ferro2009, Watercolor and Archival Digital Print on Paper, 29.25" x 21.5"
Beneficial
-
Greenbrae DuffGreenbrae Duff, Watercolor, archival pigmented print on Arches paper and framing Plexiglas, 41.5” 32.5” Lauren R Stevens, writer and environmentalist, describes the importance of duff, “Trees remove carbon from the air. Old trees remove more carbon than young ones. Furthermore, old forests with their deep layer of duff, store as much carbon on the ground as in the trees." With the advent of climate change due to the increase of carbon, forests’ roles are significant. Leaves are painted floating to form duff; drawings of seedpods are printed on the framing Plexiglas. -
Blue CarbonBlue Carbon, 2019, Watercolor, archival pigment print on laser cut Arches paper, 30” x 45” Blue carbon is the carbon captured and stored in wetland ecosystems such as mangrove forests, seagrass meadows or intertidal saltmarshes. The ecosystems are valued because they hold vast carbon reservoirs and isolate CO2 deposit it in their sediments. The leaves and its environment are painted, holes in the leaves were laser cut and a ground painted behind. -
Holey Leaves-VioletHoley Leaves, Violet, 2019, Watercolor on laser cut paper, 24” x 36” By the end of the summer season many plants show evidence of having been eaten by insects in preparation for winter hibernation. The species live in healthy symbiosis. The paper was laser cut before the leaves were drawn and painted. -
Mangrove ForestMangrove Forest, 2017, Watercolor, archival pigment print on paper, framing plexiglas, 31” x 44.75” Mangroves absorb massive amounts of nutrients, thereby improving water purity and providing crucial assistance to both land and water animals & plants. The mangrove groves protect coast lines from storm erosion. The print on the Plexi appearing at the bottom half of the painting are bathymetric contours delineating the ocean floor. -
ReefReef, 2017, Watercolor, archival pigment print on paper & Plexiglas, 29” x 44” The survival of many undersea creatures depends on the steady ebb and flow of oceantides. Rising sea levels threaten the protective costal reefs and species that live in the intertidal zone. Depicted in watercolor are a variety of coral species and drawings of bathymetric contours of coastal ocean beds are printed on the framing Plexiglas. -
Kelp FieldsKelp Field, 2015, Watercolor, pencil, archival pigment print on paper, 30” x 48” Underwater kelp forests are vigorous ecosystems that provide essential refuge for marine habitats. Painted among the among the thriving kelp are threatened species that will degrade without protection. -
The Other Side of ParadiseOther Side of Paradise, 2013, Watercolor, archival pigment print on paper, framing plexiglass, 31” x 44”, The stalks and blossoming pods of Strelizia reganie, commonly known as Bird of Paradise, were painted in watercolor and a photo of the leaves and ground was printed onto the painting. Often ignored is the plant’s understory in which the crawling creatures and decay exist, essential to the organism's well being. These are depicted on the framing Plexiglas. -
Five Stages of the Palm with BeesFive Stages of the Palm with Bees, 2012-14, Watercolor, archival pigment print on paper, 29” x 63”, Painted stalks, buds, blossoms and seedpods of a palm tree are layered with a digital photo of palm fronds viewed from above. Swarming bees are printed on the inside of the Plexiglas. Palms are simultaneously in the process of reproducing and dying. Healthy swarming bees, crucial to the life cycle of not only palms, but numerous other plants, are printed on the inside of the Plexiglas. -
Canna CircleCanna Circle, 2017, Watercolor and archival ink print on paper and framing Plexiglas, 11” x 14x” Canna blossoms and buds are painted withing a favorable environment. An ancient plant with many human uses, canna are also being studied for their ability to eliminate undesirable pollutants in wetlands due to of their tolerance to contaminants. The print on Plexi is a topographical map of farming land. -
Balance of Substance, Balance of EssenceBalance of Substance, Balance of Essence, 2011, Watercolor on paper, 30”x22” These stacks of stones are painted to balance visually, if not physically, like the balance we try to maintain in our lives, our artistic expressions, the environment, our social and political structures.
Nocturnals
-
Sido's CactusSido’s Cactus, 2019, Watercolor, Archival Digital Print on paper and Plexiglas, 40” x 26.75” The French writer, Collette, wrote a story about her mother, Sido’s, epiphyllum, a short-lived, night blooming cactus. She told of her mother's apology for canceling a visit to her daughter in Paris because her cactus would bloom shortly and she wanted to be there to witness it. Sido reminds us of life’s ephemeral nature and the precious choices we’re forced to make. -
Ames' OrchidAmes’ Orchid, 2012, Watercolor & Archival Ink Jet Print on Paper & Acrylic, 21.5” x 29” This orchid dispenses a scent at night, which attracts moths that will fertilize the blooms. The painted orchids were surrounded with a night photo of its natural environment; a moth and its flightline and are printed on the framing Plexiglas. It is a tribute to Oakes Ames, an early 20c botanist specializing in orchids and his wife, Blanche Ames, a botanical artist. -
Dames de NocheDames de Noche, 2017, Watercolor and archival ink print on paper and framing Plexiglas, 16” x 12” Night blooming plants give off specific scents to attract night pollinating insects. Shapes of the moon’s phases, to which all living things are subject, are printed on the inside of the Plexiglas. -
Night WingsNight Wings, 2013, Watercolor, archival ink jet print on paper & Plexiglas, 34" x 47” Many plants are night bloomers and release scents only at dark. Therefore, species of insects adapt their habits to become nocturnal feeders and pollinators. Scented night blossoms are painted in watercolor and surrounded by a print of a night photo. Night pollinating insects and their fight lines are photos printed onto the inside of the Plexiglas. -
Flight LinesFlight Lines, 2012, Watercolor & Archival Digital Print on Paper and framing Plexiglas, 46” x 35.5” This orchid dispenses a scent at night, which attracts a specific species of moths to fertilize the blooms. The painted orchids were surrounded with a night photo of its natural environment. Moths and drawings of their fight lines have been printed onto the framing Plexiglas. -
Nineteen at NightNineteen at Night, 2016, Archival digital pigmented print, 15" x 20" Night in a city backyard under cover of snow. -
Asphalt LinesAsphalt Lines, 2018, Archival digital pigmented print, 20" x 15" Night view of a street repaired with asphalt calking. -
TerrazaTerraza, 2015, Archival pigmented print, 16" x 20" A terrace illuminate by full-moon light. -
Night PoolNight Pool, 2015, Archival pigmented print, 20" x 15" View of a swimming pool in full-moon light -
NightBogNight Bog, 2015, Archival pigmented print, 20 x 27 Night view of a bog through trees.
Myth and Metaphore
-
Aechmea CaracasAchmea Caracas, 2008, Watercolor & Archival Digital Print on Paper, 43 x 28.5 inches. This protea is native to sub tropical regions. Linnaeus named the genus after the Greek god Proteus, because he could assume many forms. In some cultures the flower represents hope and change. Here the two entwined stalks are backed by a digital photo of the habitat where they grow at the edge of the beach, balancing between an ideal and a devastating environment. -
Orpheus' OrchidOrpheus’ Orchid, 2011, Watercolor & Archival Digital Print on Paper, 47 x 36 inches An unfettered orchid floats in the space of a glass house lit from the upper right, leaving the area below deep in shadows. The composition was influenced by the myth of Orpheus, who went to the underworld seeking to release his wife's from the dead through his musical talent. He lost her irrevocably by failing to obey Hades condition that he must not look back to see if she was following until they had reached the world of the light. -
Three DaysThree Days, 2005 Watercolor, 42.25”x 27.5” The buds and seedpods partially hidden behind the stalk of the brilliant blossom of the bottlebrush, Callistemon, reminding us of where it came from and what it will become. The title of this painting comes from Willie Nelson ”...the three days I dream of you, yesterday, today and tomorrow. “ -
Esperanza de PandoraEsperanza de Pandora, 2006 Watercolor & Archival Ink Jet Print on Paper, 22” x 29.5” The myth of Pandora recounts that one item, hope, was left inside when she slammed shut the lid of the vessel containing the evils of the world. In this painting we see the colorful forms of the rockweed escaping the dark grasses swirling at its roots. -
Spirit StoneSpirit Stone, 2014-2015, Watercolor, pencil, archival ink jet print on paper, 41” x 27” In many ancient and contemporary cultures stones are embodied with tangible or ephemeral meaning. I observed rocks similar to this image at the Wiamea Botanical Garden on Oahu where a ring of stones had been assembled by early Polynesians to ensure successful growing and fishing. -
Balance of ChanceBalance of Chance, 2008, Watercolor on paper, 30” x 22” This painting is from a series of similarly balance stacks of rocks describe by Sedat Pakay as “a tour of "Mending Walls", "Something there is that doesn’t love a wall…" comes to mind. Each stone has it’s own individual beauty while together they are functional, yet mutable structures. The history of cairns, stones used as ballast, mile and tomb markers are also recalled. Utilitarian uses with metaphoric meanings.
Monoprints
-
Field Guide-BranchesField Guide-Branches, 1/1, 2019, Trace drawing on Paper, 8” X 8” -
Field Guide-GrassesField Guide-Grasses, 1/1, 2019, etching on paper, 8” x 10” -
FieldGuide-Coral & ZooanthellaField Guide-Coral and Zooxanthelia 1/1, 2019, etching, embossing, 8” X 10 -
Field Guide--Tulip Tree BlueTulip Tree Blue, 1/1, 2019, etching, embossing on paper, 5” X 4” -
Field Guide-Systema NaturaField Guide-Systema Naturae 1/1, 2019, etching, embossing on paper, 10” X 8” -
Field Guide-Magnolia and Tuliptree PodsField Guide-Magnolia and Tuliptree Pod 1/1, 2019, etching, embossing, 8” X 10” -
FieldGuide-Pods.jpgField Guide-Pods 1/1, 2019, Trace drawing, embossing on paper, 8” X 10” -
FieldGuide-Water HyacinthField Guide-Water Hyacinth, 1/1, 2019, Trace Drawing, embossing on paper, 10” X 8” -
Field Guide-BromeliaField Guild-Bromelia, 1/1, 2019, etching, embossing on paper, 5” X 4” -
Field Guide-Magnolia GrandifloraField Guide-Magnolia Grandiflora, 1/1, 2019, etching, embossing on , 5” X 4”
Professional Information
-
Neill's StudioNeill's Studio -
2021 Essay2021 Essay
My work chronicles the ephemeral states of the natural world in layered mixed-media paintings and monoprints. By combining the immediacy of fluid paint mediums with digital processes, I interpret a lifelong fascination of biology and the environment.
Through observation of biotic phenomona, I note intersections where environmental and anthropological worlds meet.The effects of environmental changes and invasive species on human life, and the reaction of the earth’s habitat to these threats, underlie my investigations and images.
My practice typically involves scrutinizing the landscape for organic matter that suggests human activity or natural events. I line my studio with the collected specimens, which I research before making a series of drawn studies. Drawings and watercolors are created. As the layers coalesce, they depart from representation in favor of a visual translation of the object. -
2021 Narrative Bio2021 Narrative Bio
I had the good fortune to grow up in a family who valued being outdoors, education and the arts. Our Manchester, CT neighborhood backed onto wooded acres lined with old stone walls. Both parents were trained in the sciences, and for them, relaxation was building and maintaining our gardens. My maternal grandmother taught me to identify native wildflowers on woodland walks and took me to the Glass Flowers at The Harvard Museum of Natural History for the first time. Early on, our vacations were spent near Cape Cod Bay. In retrospect, it seems simple, safe and open to options and opportunity.
Memorable high school courses were biology and art, because both connected hands with the brain. -
2019 Observations from the Valley Floor CatalogObservations from the Valley Floor Catalog of 2019 exhibition at Katzen Art Center, American University Museum -
2017 Natural Selections Catalogue.pdf2017 Catalogue for the Solo Exhibition at the Washington County Museum of Fine Arts -
2015 Metaphors of Light and Night CatalogueCatalogue published in 2015 on the occasion of Neill's solo Exhibition at Goya Contemporary, Baltimore, MD -
Molly Salah, Curator's EssayMolly Salah, Curator's Catalogue Essay -
2019Hanes Essay Endangered, Invasive, Beneficial2019 Stephanie Hanes Catalogue Essay ENDANGERED,INVASIVE, BENEFICIAL
Endangered
In early 2019, a group of international scientists made headlines when they warned that nearly a million of the world’s species were threatened with extinction. Around the same time, the IUCN – the International Union for the Conservation of Nature, which keeps the widely-cited “Red List” of threatened and endangered species – announced similarly dire findings. None of the species it analyzes had become more secure over the prior year, the group said. To contrary, nearly 30,000 of those 105,000 animals and plants were at risk of dying out, some imminently. -
Mark Jenkins, Washington Post ReviewReview of Neill's exhibit by Mark Jenkins, The Washington Post
November 28, 2019
In the galleries: At American University Museum, a world of atmosphere
By Mark Jenkins
The atmosphere is humid at the American University Museum, where Christine Neill, Pam Rogers, Lynn Sures and Mel Watkin are showing botanically inspired art.
In another age, Christine Neill might have spent her career celebrating nature’s beauty. There’s much of that in her “Observations From the Valley Floor,” but these delicate yet vigorous mixed-media pictures also contain intimations of disaster. Among the exemplary pieces are depictions of the fatal bleaching of coral reefs and the damage done by invasive insect species.
