Invasive Fertility

Now that I’m back in my studio after years of science-based residency work, I’m revisiting a series about invasive species and female human fertility. The two topics have often weighed on me as a mother and contributor to the decline of our ailing environment.

I started this series (titled Invasive Fertility) between having my first child and a miscarriage, and before having my second child. In the midst of the powerful experience of creating life, I was learning in detail how our booming human population is devastating ecosystems and threatening a global mass extinction. The list of ways humans facilitate environmental degradation is hard to keep track of. One way that has become visually glaring to me in my own city is human introduction of non-native plant and insect species. Invasive vines are blanketing urban forests of enormous mature trees surrounding my neighborhood. The emerald ash borer is worsening the problem by targeting Ash trees. The threats go on and on.

As the situation unfolded in front of me, I did what living things do – make more of themselves. Being pregnant three times was, dare I say, a cosmic experience. I later wrote: “This cup cradled a human-scale big bang that set in motion an expansion of life, stardust encoded to make toes and eyelashes, memories and consciousness.” Nothing I’ve ever experienced has been more powerful. Unfortunately it turns out, that power uninhibited can be destructive.

And so I’m putting the two thoughts on paper (both the painted and written variety), to sit together uncomfortably. Like good therapy, there’s some reprieve in getting these thoughts out of my head and into a physical form, even if the problem still exists. Stay tuned to see the finished works, and keep reading to get to some prose…

One of Pittsburgh artist Ashley Cecil's pelvic paintings in progress   Four of Pittsburgh artist Ashley Cecil's pelvic paintings in progress

Just Bones
The young studio visitor asked, “Why are you painting bones?” The artist comes down to eye level and leans in. “Because they’re magic. This one here. This is a female pelvic bone. Every human being who ever existed and every one that ever will is cradled in this vessel. It’s life’s first home. And see this part? This opening? That’s the doorway to life on this side. This bone is an unimaginably powerful thing, and you have one. That must make you unimaginably powerful.”

Courier of Foreign Objects
How did this once complete set of legos scatter from a box in the basement to under the beds, the silverware drawer, inside my shoe, the fireplace, the vegetable garden? The courier is a kindergartener busy making make-believe wherever his whim takes him. These plastic building blocks give mobility to his creations and taint surroundings with hazardous foreign objects.

How did this once balanced ecosystem scatter from its native home oceans away to foreign old-growth forests, fields of food, city parks, garden centers, our backyards? The couriers are grown ups sailing shipping vessels, checking international luggage, hiding stowaways on the soles of shoes. These fungi, beetles, serpents and diseases hitchhike on building materials of prosperity and personal effects that facilitate wanderlust. Upon arrival they mount an aggressive coup to overthrow the hand that feeds us.

No more is the intact lego fire truck or the native forest. Their original forms have disappeared in the dilution. Foreign parts have dispersed and disrupted the native landscape leaving only shapeless monotony everywhere.

New work, new direction: “Broken Waters”

For over two years I’ve been fully immersed in data about the state of the natural world. Being in science labs and “in the field” has filled me with overwhelming worry and dread about what’s to come for my kids, your kids, anyone alive today or yet to be born. I’ve often had to think about the appropriateness of the resulting artwork for general audiences, but now that my last residency is wrapped up the filters are going out the window. It’s time to process in my studio what it means to be human, fertile, godlike, destructive, panicked and deeply, profoundly grateful.

In this new chapter you’re going to see more provocative work. I’m eager to focus on difficult truths versus leading with agreeable aesthetics of the natural world. Allowing myself to dig into (or perhaps wallow in) the darker trains of thoughts about human impact on nature has also inspired me to write about the work on my easel. And with that, I give you the first finished painting and two written reflections. I hope to hear what it elicits in you.

painting titled "Broken Waters" by artist Ashley Cecil detail of painting titled "Broken Waters" by artist Ashley Cecil detail of painting titled "Broken Waters" by artist Ashley CecilBroken Waters
36″x48″ acrylic and oil on canvas
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One Water
All of the water on this planet is all that’s ever been. What was once frozen in a glacier now pumps hot in your blood. What once festered in a swamp now comes out of your showerhead. The water of Jesus’s miraculous wine is still here, now in your toilet.

Until our upper hand on nature, water was self-purifying. The stones and roots and currents and clouds cleaned it as cycled between piss and holy water.

We’re steeping this substance of life like a tea, but no creation of god can remove the bits and pieces and blackness. No, now like a drop of ink in my paint cup, the darkness will swirl in tiny hurricanes until it dissipates between every molecule – a little everywhere for everyone.

Hell’s Cold Restart
Demons and their disease featured in your fiery scripture to keep children in line wait in unexpected places. Places of uninhabitable cold.

Undertakers frozen in their tracks and flattened by the weight of earth’s crust patiently wait their turn. They wait for us to signal for them with our digging and fires. We’ve gone mad looking, actually looking for them.

Down we’ve gone to exhume the flora of another era. We bring it up to the land of the living and light it on fire – a smoke signal to summon them. It wafts in the atmosphere, swirling in place like a snuffed candle into a glass dome.

Now their glacial and permafrost prisons crumble. You can hear the locks click open just before the ice calves into the sea. These first warnings are usually for coastal inhabitants – beware of rising water! But that’s simply their lure to get us to huddle together inland where the dying will circulate faster.

All this water that was once holdup at either ends now invites the vectors of disease to carry the likes of anthrax and bubonic plague to your crowded elevated refuge. There, all manners are death, both of the body and mind, are highly contagious.

The fire we started was an invitation to the devil to reign over this warming eden, a hell of our own making freed from ice.

FRUITFUL: A New Exhibition at Tree Pittsburgh

Ashley Cecil announces her exhibition, Fruitful

Since the new year I have been blissed out learning about the power and benefit of urban forests while serving as an artist in residence at Tree Pittsburgh. By burying my nose in books, following maintenance crews caring for street trees, and studying the contents the organization’s tree nursery, I have gained a reverence for these mighty stewards of our shared environment.

The data I geeked out on suggests a green landscape can protect and heal our bodies and reduce inner city crime. Trees specifically are credited with mitigating floods, cleaning air and water, capturing carbon, reducing energy consumption, increasing home values, supporting an astounding variety of flora and fauna, and more. It seems trees are the cure to so many of our troubles, and a relatively affordable one at that. Why then do we often feel indifferent to trees and regard them as disposable?

The aim of the work I’ve made during this residency is to shed light on what we stand to gain by protecting and expanding urban forests – easing childhood asthma, putting money in our wallets, preventing crime, taming storms. The work also repeats a theme of reciprocal service – when we plant and care for trees, they generously give back to us. And because I want loving trees to become a widespread household philosophy, this exhibition is full of pieces you might categorize as “decorative art” – prints of wallpaper, dinnerware, paintings more that bring my visual narrative of cherishing trees into everyday use.

Come see the work and celebrate our vulnerable urban forest at the exhibition opening reception on Thursday, June 27, 2019, 6-8 PM at Tree Pittsburgh‘s new and sustainably-designed building along the Allegheny River. Enjoy drinks and refreshments as well as print-making with fresh leaves (a kid-friendly activity). The event is free but registration is required.

RSVP for the opening reception here.

While you’re on the registration page, pre-order a signed and limited edition silk-screened print of “Reciprocal Service.” This print of a toile-style pattern includes two scenes of people caring for trees and two of people benefitting from them. All pre-orders will include the handwritten value of a tree of your choosing based on calculations by i-Tree Design. Learn more here.


25% of all proceeds from the exhibition will support Tree Pittsburgh programs.

Thank you to The Fine Foundation and the A. W. Mellon Educational and Charitable Trust Fund for their support of this residency collaboration.

DEEPENING ROOTS: A new exhibition at Phipps Conservatory and Botanical Gardens

Artist Ashley Cecil Highlights Our Bonds to the Botanical World in New Exhibition at Phipps Conservatory

Now through March 17 at Phipps Conservatory and Botanical Gardens, artworks from my latest artist residency are on display. The exhibition, Deepening Roots: Our Growing Connections to the Botanical World, highlights the essential roles plants play in the lives of all humans, from the clothes on our backs, the frames of our homes, the food on our plates and much more.

This exhibition explores six of these deep bonds we share with the botanical world, some familiar and some unexpected. These “plant profiles” are the result of my six months at Phipps, which allowed me to explore ways plants support and enhance human well-being. The most profound examples became the subjects of my paintings, which I translated into patterns and then overlaid with silhouettes of inspiring individuals whose work embodies that connection, from a food security advocate to a nature-inspired material scientist.

The exhibition catalogue details each painting and highlights the entrepreneurs, scientists, land stewards and more who are harnessing the plants’ botanical benefit.

Mark your calendar for March 7 to celebrate nature with me and the painting subjects during an artist talk and closing reception for the exhibit:

Thursday, March 7, 2019
5:30 PM, Artist Talk at the Biophilia: Pittsburgh meeting
Café Phipps (at the main entrance)

7-9 PM, Closing Reception
Phipps’ Welcome Center Gallery (at the main entrance)

Exhibition at Phipps will highlight our bonds to the botanical world

My habit of embedding myself where you wouldn’t expect to find an artist has most recently led me to Phipps Conservatory and Botanical Gardens, where I’ve been serving as an artist in residence since July. I’ve taken a deep dive into learning about human relationships with plants, and that is the very subject of my upcoming exhibition of residency artworks at Phipps opening on January 11, 2019 (and save the date for the closing reception and artist talk on March 7).

I’ve spent hours in the greenhouses asking questions about the ways plants serve people. The scientists, horticulturists, educators and more were happy to indulge my inquiries, since they love any opportunity to gab about nature.

Photos from Ashley Cecil's artist residency at Phipps Conservatory and Botanical Gardens Photos from Ashley Cecil's artist residency at Phipps Conservatory and Botanical Gardens Photos from Ashley Cecil's artist residency at Phipps Conservatory and Botanical Gardens Photos from Ashley Cecil's artist residency at Phipps Conservatory and Botanical Gardens

With my sketchbook in hand, I jotted notes about the intricate ways plants provide for us, protect us and delight us. These powerful gifts often go unnoticed, although examples of their vast contributions to human welfare are everywhere – from the clothes on your back to the wood forming your home. And so I started making paintings of the best examples. I translated those paintings into the repeating patterns below and now I’m in the process of adding the human element.

Surface pattern of pitcher plants by artist Ashley Cecil Surface pattern of golden rod by artist Ashley Cecil Surface pattern of collard greens by artist Ashley Cecil Surface pattern of cacao leaves and pods by artist Ashley Cecil Surface pattern of brake ferns by artist Ashley Cecil Surface pattern of beech tree leaves by artist Ashley Cecil

This week I’m overlaying each of the six botanical patterns with the silhouette of someone from southwestern PA whose work embodies the human/plant connection, from a food security advocate to a nature-inspired material scientist. Each painting is a celebration of plants that serve our human interests and an individual harnessing that botanical benefit. I hope, come January, it will inspire or deepen your biophilia, or love of nature.

Stay tuned for more!

Sirens from the rainforest

Questions about my trip to the Amazon rainforest have been nonstop. I’ve been awkwardly silent about my participation in LABVERDE because I’m struggling to adequately describe the experience which transcends my vocabulary and possibly my emotional intelligence. In lieu of the story you’re asking for (although I am including photos for you), all I can cobble together right now is a reflection on this bit from my sketchbook – the most poignant example of how what I learned and saw in the rainforest is playing out in my head, my heart and my home.

My oldest son just turned five. Fast forward to 2050 and he will be as old as I am now – 37. While that seems inconsequential, it’s a grim milestone that will mark what some scientists who lectured during LABVERDE estimate as a terminal climate tipping point in which nature’s systems will collapse because of our species’ booming population and our commensurate consumption.

My experience at 37 is that I have half my life ahead of me, and a privileged one at that. His experience at 37, and that of his little brother, may be dire. You know the story – flooded coastal cities that cause a massive global refugee crisis; the rampant spread of deadly diseases no longer kept in check by once diverse and self-regulating ecosystems. If I think too long about what lies ahead for my boys, my chest gets tight and the tears blur my vision. I look at their sweet faces, not yet blemished by wear of the world, and often feel panic. Maybe this is a small taste of how parents feel when their children are diagnosed with a terminal illness.

Clearly, I’m in a complicated headspace. While the informative science lectures were thoroughly depressing, daily excursions into the rainforest were euphoric and dreamlike. I tried to remind myself between bouts of despair that being in this place, in this very moment, to witness this incredibly powerful yet fragile ecosystem is an honor. I felt an intense sense of reverence. I (we) should be present it in, know it, exist with it.

It’s estimated that our universe is 13.8 billion years old. As poetically described by Carl Sagan’s cosmic calendar, in which the entire history of the universe is contained within a single calendar year, humans only came onto the scene in the final hours of December 31, making any one individual’s life nearly too short to measure. Being alive in 2018 in this biologically evolved form (that took more years to engineer than I can conceptualize), to see the iridescence of a morpho butterfly and hear the haunting call of a howler monkey, is extraordinary.

I came back from Brazil with a new goal – to instill that sense of wonder and elation in my boys while preparing them for terrifying challenges ahead. It’s manic, especially with mounting evidence that we are screwed.

Being in a state of emotional paralysis leaves me in a strange place to make artwork from my rainforest experience. I’m grateful for your interest in knowing nature through my work and eventually I’ll think my way through this on canvas. Stay tuned for posts that break down highlights from the trip in more digestible chunks as well as how it all plays out in my studio.

Until next time, remember there are people running for political office who make ignorant and dangerous statements such as climate change is happening because “the Earth moves closer to the sun every year” and “humans have warm bodies, so is heat coming off?”. Please vote.

All of the following photos are by Bruno Zanardo for LABVERDE.

Six month artist residency at a herpetology lab summed up in two minutes

It’s such an honor to be warmly welcomed into a science lab to share their findings about our impact on this world through my visual interpretation. Here’s six months of work as an artist in residence at The Richards-Zawacki Herpetology Lab summed up in under two minutes.

Thank you to everyone at the lab, Pitt Bio OutreachThe Maker’s ClubhousePittsburgh Parks ConservancyFrick Environmental Center and Presented by Jeffrey Jarzynka for making this project a success! And thank you to Elizabeth Craig Photography for capturing the adventure in this video.

Artist talk July 19

Ashley Cecil's artist talk, July 19, 2018

If you weren’t at the opening reception of my exhibition Edged Out, you missed one hell of a celebration. Over 250 art and nature lovers packed the world-renowned Frick Environmental Center to see how art inspired by science can be a powerful conduit to knowledge.

On July 19 at 7PM, I hope you’ll come learn about my immersive six-month residency at the Richards-Zawacki Lab during an artist talk at the Frick Environmental Center. Both the principle investigator of the lab, Cori Richards-Zawacki, and I will be giving a light-hearted presentation about our collaboration (no PhD in biology required). You’ll get a taste of Cori’s scientific research and how that work inspired the paintings and sculptures in the exhibition.

If you’re not able to attend the talk or see the exhibition, you can view the available artwork here. You also can learn about the project through the wonderful press coverage we garnered – my interview on the environmental radio show The Allegheny Front is possibly my favorite.

Artist residency at Phipps Conservatory and Botanical Gardens

Artist Ashley Cecil starts an artist residency at Phipps

Today I start my next nature and science-based artist residency, this time at the beloved Phipps Conservatory and Botanical Gardens. This six-month immersive project comes on the heels of my residency at the Richards-Zawacki Herpetology Lab, which only technically ended a few days ago (although stay tuned for a few more exciting events and updates about that project). But there’s no time to waste – research projects are underway and sustainability events are coming up at Phipps that I want to incorporate into my work.

Artist Ashley Cecil start a new residency at Phipps Conservatory and Botanical Gardens

Just this morning,

  • I brainstormed with Dr. Ryan Gott, Associate Director of Integrated Pest Management, about potential themes of plant ecology (think invasive species management and protecting pollinators).
  • Dr. Sarah States, Director of Research and Science Education, filled me in on Phipps’ Botany in Action Fellowship program – a gold mine of scientific research I might tap into.
  • Dr. Maria Wheeler-Dubas, Research and Science Education Outreach Manager, and I shared ideas for teaching the public about plants through art workshops.

That was just the beginning – additional conversations were had about exhibiting my work at Phipps, interacting with daily visitors to the conservatory and much more. Suffice it say you’re in for a treat!

If you’re on the social interwebs, follow the daily goings on via Instagram, Twitter and Facebook. I tag my residency posts with #sciartpgh.

LABVERDE: Art immersion in the Amazon

Artist Ashley Cecil participates in LABVERDE

Big news: I’ve been invited to participate in LABVERDE this August in the Amazon rainforest. The art immersion program is based at the Adolpho Ducke Forest Reserve in Manaus, Brazil. It was “created to strengthen the limits of art through a broad array of experiences, knowledge sets and cultural perspective involving art, science and nature. The program’s main goal is to promote artistic creation through a constructive debate about environmental issues generated by both theory and life experience in the Amazon rainforest…LABVERDE promotes an intensive experience in the rainforest mediated by a multidisciplinary team of highly qualified specialists in art, humanity, biology, ecology and natural science.”

In 2017, 210 submissions were received from 36 different countries. 30 artists were accepted, including myself. Sadly, I had to defer my participation because I got pregnant between submitting my application and being accepted (it wasn’t safe to travel to the country of origin of Zika given the circumstance). Luckily, the program organizers held my spot for the 2018 so I wouldn’t miss the opportunity to be a part of this niche program is so well aligned with the theme of my work.

While at the Adolpho Ducke Forest Reserve, I’ll conduct research by collecting photographic reference, attending ecology seminars, completing group assignments and going on guided tours in the Amazon rainforest both on foot and via boat. Topics covered will include, “landscape representation, climate change and environmental impacts, wild edible plants, entomology, botany and natural history of organisms.” All of this will serve as inspiration that I’ll later use to create new work that piques your curiosity about nature and environmental stewardship.

Special thanks to the Greater Pittsburgh Arts Council for awarding me an Artist Opportunity Grant to support this endeavor.

EDGED OUT: An exhibition of work from an artist residency in herpetology

Artist Ashley Cecil announces her latest exhibition Edged Out

For the last five months I’ve either been in a science lab or my studio. On June 28, I hope you’ll come celebrate the light of day with me at the opening of my latest exhibition, Edged Out.

The exhibition is a series of paintings and sculptural works about human influence on nature. The artworks specifically focus on the vulnerable state of amphibians, a modern canary in the coal mine offering us a prophetic glance at what lies ahead for all inhabitants of an ailing environment.

These artworks are visual translations of research conducted by the Richards-Zawacki Herpetology Lab at the University of Pittsburgh. During my six-month artist residency at the lab, I’ve immersed myself in scientific topics represented in this exhibition, such as habitat loss, disease and conservation methods.

Please RSVP here for the opening reception June 28, 6-9 PM.
A public reception will follow. The Frick Environmental Center is located at 2005 Beechwood Boulevard, Pittsburgh, PA 15217.

Until then, get your fix by perusing this photo archive of the residency unfolding…

Ashley Cecil shares her artist residency at a herpetology lab on Instagram

Bare breasts for natural history

Artist Ashley Cecil nurses her son in a natural history museum breastfeeding room adorned with her nursing mammal wallpaper

Do you remember that time I asked you to vote for your favorite six of 10 nursing mammals to include in a contemporary twist on a toile wallpaper? Thanks to your input, the wallpaper is now a reality and it is adorning the walls of the nursing area of the Carnegie Museum of Natural History.

Installing the wallpaper took a little longer than expected, but in the end the timing was perfect since the delay meant I had enough time to grow my own mammal to nurse just as the wallpaper was being installed (just before Mother’s Day no less). Capturing that photo was well worth the wait.

Artist Ashley Cecil paints a diorama of jaguars in a natural history museum

If you lactate or otherwise feed young human mammals, I highly recommend checking out the space in the first floor of the museum. If not, check out the dioramas that inspired the wallpaper on the second floor. And if you’re imagining this wallpaper in your nursery, lactation room, etc., you can order it on my website.

Updates from an artist residency in herpetology

Move over canary in the coal mine. Amphibians are an understated climate bellwether deserving of the spotlight in my current artist residency. Now two-thirds of the way through my post at the Richards-Zawacki Herpetology Lab at the University of Pittsburgh (or RZL), there’s plenty to share about how I’m using art and STEAM education to communicate plight of amphibians, such as habitat loss and disease.

One of my favorite works-in-progress is the painting above.  This small study was inspired by the lab’s research on a fungal pathogen nicknamed Bd, which causes the often fatal disease chytridiomycosis or chytrid. Chytrid is threatening frog populations globally at an alarming rate and in many cases is causing extinctions. The issue is becoming so pervasive it’s getting picked up by mainstream media. For example, researchers at RZL recently had an article of the topic published in Science, which in turn was reported on by The New York Times, The Atlantic and others.

Diving this deep into herpetology as the subject of an entire body of artwork has only been possible by embedding myself in the lab, interacting with the researchers as they “do science” (such as Veronica Saenz, above, who is researching how climate change affects Bd). One of the most useful experiences has been participating in lab meetings where scientific articles are discussed and presentations are rehearsed. Four months in, I’m proud to say I’m now capable of getting through a lab meeting without having to use the dictionary app on my phone.

Other paintings I’m working on focus on habit loss and fragmentation, last-ditch conservation practices, and, as shown in the teaser above, a nod to local species that includes visualizations of their calls (spectrograms) and flora of their native habitats.

Once again, folks in the lab provided the inspiration for this painting. I stumbled across spectrograms of frog calls while sharing desk space with a member of the lab who was reviewing audio clips from his laptop. I couldn’t help but ask what he was working on. When he showed me his screen, the spectrograms immediately reminded me of an ikat pattern, a perfect visual to add to one of my canvases.

As with my residency at the Carnegie Museum of Natural History, this project also has involved more than creation of my own work. For example, this go around I’ve tried to connect other professionals interested in working across disciplinary lines in hopes of sparking new collaborations. And so I recently gathered over 40 artists, scientists, museum administrators and educators at my studio for a drawing session and mingling.

The idea for the event took shape after I noticed a pattern among the friends I’ve met during my cross-disciplinary projects – scientists sheepishly confessing they love to make art, and more and more artists concentrating on climate change and science as the subject of their work. It seemed worthwhile to bring them together to exchange business cards while laughing about non-dominant hand and blind contour drawings. Although the latter two exercises broke the ice, the most engaging exercise was putting everyone in pairs to recreate a single drawing together. That sounds easy, but only one person was doing the drawing and he/she could not see what was being drawn. The second person orally instructed the first on how to make the drawing. Everyone in the room was smiling ear-to-ear (well, except for the sleeping baby).

There’s plenty more from this residency in the works that I’ll share in the coming weeks – adventures in educational outreach, my foray into steel sculpture and plans for an exhibition in June. Stay tuned.

Artist residency at the Richards-Zawacki Lab

Ashley Cecil's sketchbook paintings of frogsApparently, once you start making artwork inspired by biological sciences, there’s no going back. Since embarking on one artist residency after another at science, natural history, and conservation-based organizations in Pittsburgh, I can’t imagine doing anything else. The swelling pressure to reconcile our strain on nature matched with the awe-inspiring aesthetic of life on this planet has me addicted to hanging out in science labs and closed-off museum collections. 2018 will be no exception.

Frogs studied by the Richards-Zawacki LabToday, I start a six-month residency at the Richards-Zawacki Lab (RZL) of the University of Pittsburgh. RZL studies “many aspects of the ecology, evolutionary biology, and conservation of amphibians.” I’m particularly interested in their research on whether climate change “shape[s] present day patterns of biodiversity” among amphibians.

I’ll draw inspiration for new artwork from the frogs RZL scientists study, such as leopard frogs and strawberry poison frogs (the latter are found in the Bocas del Toro archipelago of Panama, where PhD student Yusan Yang is pictured above). I have a hunch these vibrant amphibians will translate rather well into my patterned paintings of flora and fauna.

Wish me luck and stay tuned for news about an exhibition of this work, educational art and science workshops, and more.

Birds and Botany, an exhibition of my work at Phipps

It’s a pretty big deal to be invited to exhibit my work at Phipps Conservatory and Botanical Gardens. And it’s an even bigger deal that the exhibition, Birds and Botany, is up during the holiday season. If you’ve ever been to Phipps during winter, you are well aware of the massive droves of people the holiday lights draw in, and my work greets the hundreds of thousands of visitors as they queue to get tickets. I like to think I’m offering visual enjoyment while they wait.

The show includes my original artwork resulting from my 2016 artist residency at the Carnegie Museum of Natural History, as well as the related wallpaper, handmade scarf, and bird-safe window films. The paintings and scarves are available for sale at Phipps. The wallpaper and window films are special orders – shoot me an email for details.

The show is up well into 2018. I hope you’ll brave the cold to see it (the tropical temps inside the greenhouse make it especially worth it this time of year). 

Artwork of Ashley Cecil at Phipps

Wallpaper designed by artist Ashley Cecil installed at Phipps

Artwork of Ashley Cecil at Phipps