ENTER
CREATIVE CONSULTANCY X EXPERIENCE DESIGN
EXPLORING HUMAN AND MORE-THAN-HUMAN IMAGINATION AT THE INTERSECTION OF ART AND TECHNOLOGY
BY SARAH JANE HUMPHREY
Alchemical Ecology: Reimagination of Seaweed, Symbolism, and Site
In her ongoing practice, the artist Sarah Jane Humphrey explores the material and symbolic transformation of seaweed through a multidisciplinary approach that merges scientific observation, esoteric inquiry, and contemporary digital processes. Testing the materiality of seaweed via 3D scanning, printing, CNC milling, and bronze casting, Humphrey evokes both beauty and curiosity, reframing this oft-dismissed marine plant as a medium of ecological and spiritual resonance.
Humphrey's artistic trajectory evolved from precise, representational watercolour studies to a deeper investigation into the expressive potential of new materials. Guided by Jungian concepts of the collective unconscious and inspired by the spiritually informed practices of female surrealists, her work seeks to unearth the symbolic layers embedded in the natural world. This intersection of ecological awareness and esoteric thought culminated in her ongoing project Alchemical Ecology—a term that she uses to reflect both ancient alchemical traditions and contemporary ecological concerns.
Originally conceived as a triptych in oil paint, drawing inspiration from the sacred geometry of stained-glass windows, Humphrey’s project took an unexpected turn as her research deepened. Bronze casting emerged as a material central to the work, resonating with the alchemical notion of transformation and the accessibility of its historical, spiritual associations. The resulting large-scale 3D sculpture incorporates descending velvet ribbons referencing spiritual ascension, particularly through the triangular forms found in Hilma af Klint’s Altarpiece No. 1 (1915), the final piece in her seminal series Paintings for the Temple.
During a residency at Art Centre Penryn, Cornwall, Humphrey noticed subtle, site-specific symbols embedded in the architecture: a half-rendered Flower of Life inscribed on a pew and carved triangles that echoed both Jungian symbolism and Klint’s geometric language. These discoveries prompted a reorientation of her sculpture, aligning it more deliberately with the visual and symbolic language latent in the space. The final positioning of the work—nested within a bible shelf adjacent to a rare stained-glass triangle—further deepened the resonance between material, site, and synchronicity.
The installation invites viewers into a slowed and contemplative encounter, mirroring Humphrey’s own research processes of underwater observation and meditative inquiry. Bronze seaweed forms are discreetly placed throughout the space, encouraging quiet reflection. Through this sensitive integration of materials, site, and symbolism, Alchemical Ecology reimagines seaweed not merely as botanical specimen but as a conduit for connecting microcosmic and macrocosmic narratives.
Seaweed—once, for Humphrey, a substance to be avoided—has become a central motif in her practice. Initially repelled by its slimy tactility, she now documents its forms in meticulous detail, studying its structures in rock pools and underwater ecosystems. This intimate engagement led to a reappraisal of seaweed’s aesthetic and ecological value, challenging its conventional marginalisation.
The artist’s engagement with Jungian theory, particularly the concept of the collective unconscious, informs her attention to recurring symbols and synchronicities. Practices such as dream journaling, astrology, tarot, and TM inform her intuitive creative process, functioning as tools of both research and navigation. These methods support a form of visual mapping—what Humphrey refers to as an “alchemical imagination”—that unites material experimentation with symbolic insight.
A key influence on Humphrey’s sculpture was the esoteric work of Hilma af Klint, whose spiritualist group, known as “The Five,” conducted regular séances and used automatic writing and drawing as methods of creative and mystical investigation. Humphrey’s installation includes five bronze castings and five ribbons—subtle homages to this group and its legacy.
Ultimately, Alchemical Ecology can be read as an alternative cartography: one that maps the liminal spaces between art and nature, matter and spirit, intuition and technology. Through a materially and philosophically rich practice, Humphrey invites viewers to consider how the most overlooked forms—seaweed, rock pools, symbols half-scribed into wood—might offer portals to deeper understanding and connection.
Alchemical Ecology: Reimagination of Seaweed, Symbolism, and Site
In her ongoing practice, the artist Sarah Jane Humphrey explores the material and symbolic transformation of seaweed through a multidisciplinary approach that merges scientific observation, esoteric inquiry, and contemporary digital processes. Testing the materiality of seaweed via 3D scanning, printing, CNC milling, and bronze casting, Humphrey evokes both beauty and curiosity, reframing this oft-dismissed marine plant as a medium of ecological and spiritual resonance.
Humphrey's artistic trajectory evolved from precise, representational watercolour studies to a deeper investigation into the expressive potential of new materials. Guided by Jungian concepts of the collective unconscious and inspired by the spiritually informed practices of female surrealists, her work seeks to unearth the symbolic layers embedded in the natural world. This intersection of ecological awareness and esoteric thought culminated in her ongoing project Alchemical Ecology—a term that she uses to reflect both ancient alchemical traditions and contemporary ecological concerns.
Originally conceived as a triptych in oil paint, drawing inspiration from the sacred geometry of stained-glass windows, Humphrey’s project took an unexpected turn as her research deepened. Bronze casting emerged as a material central to the work, resonating with the alchemical notion of transformation and the accessibility of its historical, spiritual associations. The resulting large-scale 3D sculpture incorporates descending velvet ribbons referencing spiritual ascension, particularly through the triangular forms found in Hilma af Klint’s Altarpiece No. 1 (1915), the final piece in her seminal series Paintings for the Temple.
During a residency at Art Centre Penryn, Cornwall, Humphrey noticed subtle, site-specific symbols embedded in the architecture: a half-rendered Flower of Life inscribed on a pew and carved triangles that echoed both Jungian symbolism and Klint’s geometric language. These discoveries prompted a reorientation of her sculpture, aligning it more deliberately with the visual and symbolic language latent in the space. The final positioning of the work—nested within a bible shelf adjacent to a rare stained-glass triangle—further deepened the resonance between material, site, and synchronicity.
The installation invites viewers into a slowed and contemplative encounter, mirroring Humphrey’s own research processes of underwater observation and meditative inquiry. Bronze seaweed forms are discreetly placed throughout the space, encouraging quiet reflection. Through this sensitive integration of materials, site, and symbolism, Alchemical Ecology reimagines seaweed not merely as botanical specimen but as a conduit for connecting microcosmic and macrocosmic narratives.
Seaweed—once, for Humphrey, a substance to be avoided—has become a central motif in her practice. Initially repelled by its slimy tactility, she now documents its forms in meticulous detail, studying its structures in rock pools and underwater ecosystems. This intimate engagement led to a reappraisal of seaweed’s aesthetic and ecological value, challenging its conventional marginalisation.
The artist’s engagement with Jungian theory, particularly the concept of the collective unconscious, informs her attention to recurring symbols and synchronicities. Practices such as dream journaling, astrology, tarot, and TM inform her intuitive creative process, functioning as tools of both research and navigation. These methods support a form of visual mapping—what Humphrey refers to as an “alchemical imagination”—that unites material experimentation with symbolic insight.
A key influence on Humphrey’s sculpture was the esoteric work of Hilma af Klint, whose spiritualist group, known as “The Five,” conducted regular séances and used automatic writing and drawing as methods of creative and mystical investigation. Humphrey’s installation includes five bronze castings and five ribbons—subtle homages to this group and its legacy.
Ultimately, Alchemical Ecology can be read as an alternative cartography: one that maps the liminal spaces between art and nature, matter and spirit, intuition and technology. Through a materially and philosophically rich practice, Humphrey invites viewers to consider how the most overlooked forms—seaweed, rock pools, symbols half-scribed into wood—might offer portals to deeper understanding and connection.
Sarah Jane Humphrey is a an award-winning botanical illustrator and multi-disciplinary artist.
BY SARAH JANE HUMPHREY
Alchemical Ecology: Reimagination of Seaweed, Symbolism, and Site
In her ongoing practice, the artist Sarah Jane Humphrey explores the material and symbolic transformation of seaweed through a multidisciplinary approach that merges scientific observation, esoteric inquiry, and contemporary digital processes. Testing the materiality of seaweed via 3D scanning, printing, CNC milling, and bronze casting, Humphrey evokes both beauty and curiosity, reframing this oft-dismissed marine plant as a medium of ecological and spiritual resonance.
Humphrey's artistic trajectory evolved from precise, representational watercolour studies to a deeper investigation into the expressive potential of new materials. Guided by Jungian concepts of the collective unconscious and inspired by the spiritually informed practices of female surrealists, her work seeks to unearth the symbolic layers embedded in the natural world. This intersection of ecological awareness and esoteric thought culminated in her ongoing project Alchemical Ecology—a term that she uses to reflect both ancient alchemical traditions and contemporary ecological concerns.
Originally conceived as a triptych in oil paint, drawing inspiration from the sacred geometry of stained-glass windows, Humphrey’s project took an unexpected turn as her research deepened. Bronze casting emerged as a material central to the work, resonating with the alchemical notion of transformation and the accessibility of its historical, spiritual associations. The resulting large-scale 3D sculpture incorporates descending velvet ribbons referencing spiritual ascension, particularly through the triangular forms found in Hilma af Klint’s Altarpiece No. 1 (1915), the final piece in her seminal series Paintings for the Temple.
During a residency at Art Centre Penryn, Cornwall, Humphrey noticed subtle, site-specific symbols embedded in the architecture: a half-rendered Flower of Life inscribed on a pew and carved triangles that echoed both Jungian symbolism and Klint’s geometric language. These discoveries prompted a reorientation of her sculpture, aligning it more deliberately with the visual and symbolic language latent in the space. The final positioning of the work—nested within a bible shelf adjacent to a rare stained-glass triangle—further deepened the resonance between material, site, and synchronicity.
The installation invites viewers into a slowed and contemplative encounter, mirroring Humphrey’s own research processes of underwater observation and meditative inquiry. Bronze seaweed forms are discreetly placed throughout the space, encouraging quiet reflection. Through this sensitive integration of materials, site, and symbolism, Alchemical Ecology reimagines seaweed not merely as botanical specimen but as a conduit for connecting microcosmic and macrocosmic narratives.
Seaweed—once, for Humphrey, a substance to be avoided—has become a central motif in her practice. Initially repelled by its slimy tactility, she now documents its forms in meticulous detail, studying its structures in rock pools and underwater ecosystems. This intimate engagement led to a reappraisal of seaweed’s aesthetic and ecological value, challenging its conventional marginalisation.
The artist’s engagement with Jungian theory, particularly the concept of the collective unconscious, informs her attention to recurring symbols and synchronicities. Practices such as dream journaling, astrology, tarot, and TM inform her intuitive creative process, functioning as tools of both research and navigation. These methods support a form of visual mapping—what Humphrey refers to as an “alchemical imagination”—that unites material experimentation with symbolic insight.
A key influence on Humphrey’s sculpture was the esoteric work of Hilma af Klint, whose spiritualist group, known as “The Five,” conducted regular séances and used automatic writing and drawing as methods of creative and mystical investigation. Humphrey’s installation includes five bronze castings and five ribbons—subtle homages to this group and its legacy.
Ultimately, Alchemical Ecology can be read as an alternative cartography: one that maps the liminal spaces between art and nature, matter and spirit, intuition and technology. Through a materially and philosophically rich practice, Humphrey invites viewers to consider how the most overlooked forms—seaweed, rock pools, symbols half-scribed into wood—might offer portals to deeper understanding and connection.
Alchemical Ecology: Reimagination of Seaweed, Symbolism, and Site
In her ongoing practice, the artist Sarah Jane Humphrey explores the material and symbolic transformation of seaweed through a multidisciplinary approach that merges scientific observation, esoteric inquiry, and contemporary digital processes. Testing the materiality of seaweed via 3D scanning, printing, CNC milling, and bronze casting, Humphrey evokes both beauty and curiosity, reframing this oft-dismissed marine plant as a medium of ecological and spiritual resonance.
Humphrey's artistic trajectory evolved from precise, representational watercolour studies to a deeper investigation into the expressive potential of new materials. Guided by Jungian concepts of the collective unconscious and inspired by the spiritually informed practices of female surrealists, her work seeks to unearth the symbolic layers embedded in the natural world. This intersection of ecological awareness and esoteric thought culminated in her ongoing project Alchemical Ecology—a term that she uses to reflect both ancient alchemical traditions and contemporary ecological concerns.
Originally conceived as a triptych in oil paint, drawing inspiration from the sacred geometry of stained-glass windows, Humphrey’s project took an unexpected turn as her research deepened. Bronze casting emerged as a material central to the work, resonating with the alchemical notion of transformation and the accessibility of its historical, spiritual associations. The resulting large-scale 3D sculpture incorporates descending velvet ribbons referencing spiritual ascension, particularly through the triangular forms found in Hilma af Klint’s Altarpiece No. 1 (1915), the final piece in her seminal series Paintings for the Temple.
During a residency at Art Centre Penryn, Cornwall, Humphrey noticed subtle, site-specific symbols embedded in the architecture: a half-rendered Flower of Life inscribed on a pew and carved triangles that echoed both Jungian symbolism and Klint’s geometric language. These discoveries prompted a reorientation of her sculpture, aligning it more deliberately with the visual and symbolic language latent in the space. The final positioning of the work—nested within a bible shelf adjacent to a rare stained-glass triangle—further deepened the resonance between material, site, and synchronicity.
The installation invites viewers into a slowed and contemplative encounter, mirroring Humphrey’s own research processes of underwater observation and meditative inquiry. Bronze seaweed forms are discreetly placed throughout the space, encouraging quiet reflection. Through this sensitive integration of materials, site, and symbolism, Alchemical Ecology reimagines seaweed not merely as botanical specimen but as a conduit for connecting microcosmic and macrocosmic narratives.
Seaweed—once, for Humphrey, a substance to be avoided—has become a central motif in her practice. Initially repelled by its slimy tactility, she now documents its forms in meticulous detail, studying its structures in rock pools and underwater ecosystems. This intimate engagement led to a reappraisal of seaweed’s aesthetic and ecological value, challenging its conventional marginalisation.
The artist’s engagement with Jungian theory, particularly the concept of the collective unconscious, informs her attention to recurring symbols and synchronicities. Practices such as dream journaling, astrology, tarot, and TM inform her intuitive creative process, functioning as tools of both research and navigation. These methods support a form of visual mapping—what Humphrey refers to as an “alchemical imagination”—that unites material experimentation with symbolic insight.
A key influence on Humphrey’s sculpture was the esoteric work of Hilma af Klint, whose spiritualist group, known as “The Five,” conducted regular séances and used automatic writing and drawing as methods of creative and mystical investigation. Humphrey’s installation includes five bronze castings and five ribbons—subtle homages to this group and its legacy.
Ultimately, Alchemical Ecology can be read as an alternative cartography: one that maps the liminal spaces between art and nature, matter and spirit, intuition and technology. Through a materially and philosophically rich practice, Humphrey invites viewers to consider how the most overlooked forms—seaweed, rock pools, symbols half-scribed into wood—might offer portals to deeper understanding and connection.
Sarah Jane Humphrey is a an award-winning botanical illustrator and multi-disciplinary artist.
BY SARAH JANE HUMPHREY
Alchemical Ecology: Reimagination of Seaweed, Symbolism, and Site
In her ongoing practice, the artist Sarah Jane Humphrey explores the material and symbolic transformation of seaweed through a multidisciplinary approach that merges scientific observation, esoteric inquiry, and contemporary digital processes. Testing the materiality of seaweed via 3D scanning, printing, CNC milling, and bronze casting, Humphrey evokes both beauty and curiosity, reframing this oft-dismissed marine plant as a medium of ecological and spiritual resonance.
Humphrey's artistic trajectory evolved from precise, representational watercolour studies to a deeper investigation into the expressive potential of new materials. Guided by Jungian concepts of the collective unconscious and inspired by the spiritually informed practices of female surrealists, her work seeks to unearth the symbolic layers embedded in the natural world. This intersection of ecological awareness and esoteric thought culminated in her ongoing project Alchemical Ecology—a term that she uses to reflect both ancient alchemical traditions and contemporary ecological concerns.
Originally conceived as a triptych in oil paint, drawing inspiration from the sacred geometry of stained-glass windows, Humphrey’s project took an unexpected turn as her research deepened. Bronze casting emerged as a material central to the work, resonating with the alchemical notion of transformation and the accessibility of its historical, spiritual associations. The resulting large-scale 3D sculpture incorporates descending velvet ribbons referencing spiritual ascension, particularly through the triangular forms found in Hilma af Klint’s Altarpiece No. 1 (1915), the final piece in her seminal series Paintings for the Temple.
During a residency at Art Centre Penryn, Cornwall, Humphrey noticed subtle, site-specific symbols embedded in the architecture: a half-rendered Flower of Life inscribed on a pew and carved triangles that echoed both Jungian symbolism and Klint’s geometric language. These discoveries prompted a reorientation of her sculpture, aligning it more deliberately with the visual and symbolic language latent in the space. The final positioning of the work—nested within a bible shelf adjacent to a rare stained-glass triangle—further deepened the resonance between material, site, and synchronicity.
The installation invites viewers into a slowed and contemplative encounter, mirroring Humphrey’s own research processes of underwater observation and meditative inquiry. Bronze seaweed forms are discreetly placed throughout the space, encouraging quiet reflection. Through this sensitive integration of materials, site, and symbolism, Alchemical Ecology reimagines seaweed not merely as botanical specimen but as a conduit for connecting microcosmic and macrocosmic narratives.
Seaweed—once, for Humphrey, a substance to be avoided—has become a central motif in her practice. Initially repelled by its slimy tactility, she now documents its forms in meticulous detail, studying its structures in rock pools and underwater ecosystems. This intimate engagement led to a reappraisal of seaweed’s aesthetic and ecological value, challenging its conventional marginalisation.
The artist’s engagement with Jungian theory, particularly the concept of the collective unconscious, informs her attention to recurring symbols and synchronicities. Practices such as dream journaling, astrology, tarot, and TM inform her intuitive creative process, functioning as tools of both research and navigation. These methods support a form of visual mapping—what Humphrey refers to as an “alchemical imagination”—that unites material experimentation with symbolic insight.
A key influence on Humphrey’s sculpture was the esoteric work of Hilma af Klint, whose spiritualist group, known as “The Five,” conducted regular séances and used automatic writing and drawing as methods of creative and mystical investigation. Humphrey’s installation includes five bronze castings and five ribbons—subtle homages to this group and its legacy.
Ultimately, Alchemical Ecology can be read as an alternative cartography: one that maps the liminal spaces between art and nature, matter and spirit, intuition and technology. Through a materially and philosophically rich practice, Humphrey invites viewers to consider how the most overlooked forms—seaweed, rock pools, symbols half-scribed into wood—might offer portals to deeper understanding and connection.
Alchemical Ecology: Reimagination of Seaweed, Symbolism, and Site
In her ongoing practice, the artist Sarah Jane Humphrey explores the material and symbolic transformation of seaweed through a multidisciplinary approach that merges scientific observation, esoteric inquiry, and contemporary digital processes. Testing the materiality of seaweed via 3D scanning, printing, CNC milling, and bronze casting, Humphrey evokes both beauty and curiosity, reframing this oft-dismissed marine plant as a medium of ecological and spiritual resonance.
Humphrey's artistic trajectory evolved from precise, representational watercolour studies to a deeper investigation into the expressive potential of new materials. Guided by Jungian concepts of the collective unconscious and inspired by the spiritually informed practices of female surrealists, her work seeks to unearth the symbolic layers embedded in the natural world. This intersection of ecological awareness and esoteric thought culminated in her ongoing project Alchemical Ecology—a term that she uses to reflect both ancient alchemical traditions and contemporary ecological concerns.
Originally conceived as a triptych in oil paint, drawing inspiration from the sacred geometry of stained-glass windows, Humphrey’s project took an unexpected turn as her research deepened. Bronze casting emerged as a material central to the work, resonating with the alchemical notion of transformation and the accessibility of its historical, spiritual associations. The resulting large-scale 3D sculpture incorporates descending velvet ribbons referencing spiritual ascension, particularly through the triangular forms found in Hilma af Klint’s Altarpiece No. 1 (1915), the final piece in her seminal series Paintings for the Temple.
During a residency at Art Centre Penryn, Cornwall, Humphrey noticed subtle, site-specific symbols embedded in the architecture: a half-rendered Flower of Life inscribed on a pew and carved triangles that echoed both Jungian symbolism and Klint’s geometric language. These discoveries prompted a reorientation of her sculpture, aligning it more deliberately with the visual and symbolic language latent in the space. The final positioning of the work—nested within a bible shelf adjacent to a rare stained-glass triangle—further deepened the resonance between material, site, and synchronicity.
The installation invites viewers into a slowed and contemplative encounter, mirroring Humphrey’s own research processes of underwater observation and meditative inquiry. Bronze seaweed forms are discreetly placed throughout the space, encouraging quiet reflection. Through this sensitive integration of materials, site, and symbolism, Alchemical Ecology reimagines seaweed not merely as botanical specimen but as a conduit for connecting microcosmic and macrocosmic narratives.
Seaweed—once, for Humphrey, a substance to be avoided—has become a central motif in her practice. Initially repelled by its slimy tactility, she now documents its forms in meticulous detail, studying its structures in rock pools and underwater ecosystems. This intimate engagement led to a reappraisal of seaweed’s aesthetic and ecological value, challenging its conventional marginalisation.
The artist’s engagement with Jungian theory, particularly the concept of the collective unconscious, informs her attention to recurring symbols and synchronicities. Practices such as dream journaling, astrology, tarot, and TM inform her intuitive creative process, functioning as tools of both research and navigation. These methods support a form of visual mapping—what Humphrey refers to as an “alchemical imagination”—that unites material experimentation with symbolic insight.
A key influence on Humphrey’s sculpture was the esoteric work of Hilma af Klint, whose spiritualist group, known as “The Five,” conducted regular séances and used automatic writing and drawing as methods of creative and mystical investigation. Humphrey’s installation includes five bronze castings and five ribbons—subtle homages to this group and its legacy.
Ultimately, Alchemical Ecology can be read as an alternative cartography: one that maps the liminal spaces between art and nature, matter and spirit, intuition and technology. Through a materially and philosophically rich practice, Humphrey invites viewers to consider how the most overlooked forms—seaweed, rock pools, symbols half-scribed into wood—might offer portals to deeper understanding and connection.
Sarah Jane Humphrey is a an award-winning botanical illustrator and multi-disciplinary artist.
BY SARAH JANE HUMPHREY
Alchemical Ecology: Reimagination of Seaweed, Symbolism, and Site
In her ongoing practice, the artist Sarah Jane Humphrey explores the material and symbolic transformation of seaweed through a multidisciplinary approach that merges scientific observation, esoteric inquiry, and contemporary digital processes. Testing the materiality of seaweed via 3D scanning, printing, CNC milling, and bronze casting, Humphrey evokes both beauty and curiosity, reframing this oft-dismissed marine plant as a medium of ecological and spiritual resonance.
Humphrey's artistic trajectory evolved from precise, representational watercolour studies to a deeper investigation into the expressive potential of new materials. Guided by Jungian concepts of the collective unconscious and inspired by the spiritually informed practices of female surrealists, her work seeks to unearth the symbolic layers embedded in the natural world. This intersection of ecological awareness and esoteric thought culminated in her ongoing project Alchemical Ecology—a term that she uses to reflect both ancient alchemical traditions and contemporary ecological concerns.
Originally conceived as a triptych in oil paint, drawing inspiration from the sacred geometry of stained-glass windows, Humphrey’s project took an unexpected turn as her research deepened. Bronze casting emerged as a material central to the work, resonating with the alchemical notion of transformation and the accessibility of its historical, spiritual associations. The resulting large-scale 3D sculpture incorporates descending velvet ribbons referencing spiritual ascension, particularly through the triangular forms found in Hilma af Klint’s Altarpiece No. 1 (1915), the final piece in her seminal series Paintings for the Temple.
During a residency at Art Centre Penryn, Cornwall, Humphrey noticed subtle, site-specific symbols embedded in the architecture: a half-rendered Flower of Life inscribed on a pew and carved triangles that echoed both Jungian symbolism and Klint’s geometric language. These discoveries prompted a reorientation of her sculpture, aligning it more deliberately with the visual and symbolic language latent in the space. The final positioning of the work—nested within a bible shelf adjacent to a rare stained-glass triangle—further deepened the resonance between material, site, and synchronicity.
The installation invites viewers into a slowed and contemplative encounter, mirroring Humphrey’s own research processes of underwater observation and meditative inquiry. Bronze seaweed forms are discreetly placed throughout the space, encouraging quiet reflection. Through this sensitive integration of materials, site, and symbolism, Alchemical Ecology reimagines seaweed not merely as botanical specimen but as a conduit for connecting microcosmic and macrocosmic narratives.
Seaweed—once, for Humphrey, a substance to be avoided—has become a central motif in her practice. Initially repelled by its slimy tactility, she now documents its forms in meticulous detail, studying its structures in rock pools and underwater ecosystems. This intimate engagement led to a reappraisal of seaweed’s aesthetic and ecological value, challenging its conventional marginalisation.
The artist’s engagement with Jungian theory, particularly the concept of the collective unconscious, informs her attention to recurring symbols and synchronicities. Practices such as dream journaling, astrology, tarot, and TM inform her intuitive creative process, functioning as tools of both research and navigation. These methods support a form of visual mapping—what Humphrey refers to as an “alchemical imagination”—that unites material experimentation with symbolic insight.
A key influence on Humphrey’s sculpture was the esoteric work of Hilma af Klint, whose spiritualist group, known as “The Five,” conducted regular séances and used automatic writing and drawing as methods of creative and mystical investigation. Humphrey’s installation includes five bronze castings and five ribbons—subtle homages to this group and its legacy.
Ultimately, Alchemical Ecology can be read as an alternative cartography: one that maps the liminal spaces between art and nature, matter and spirit, intuition and technology. Through a materially and philosophically rich practice, Humphrey invites viewers to consider how the most overlooked forms—seaweed, rock pools, symbols half-scribed into wood—might offer portals to deeper understanding and connection.
Alchemical Ecology: Reimagination of Seaweed, Symbolism, and Site
In her ongoing practice, the artist Sarah Jane Humphrey explores the material and symbolic transformation of seaweed through a multidisciplinary approach that merges scientific observation, esoteric inquiry, and contemporary digital processes. Testing the materiality of seaweed via 3D scanning, printing, CNC milling, and bronze casting, Humphrey evokes both beauty and curiosity, reframing this oft-dismissed marine plant as a medium of ecological and spiritual resonance.
Humphrey's artistic trajectory evolved from precise, representational watercolour studies to a deeper investigation into the expressive potential of new materials. Guided by Jungian concepts of the collective unconscious and inspired by the spiritually informed practices of female surrealists, her work seeks to unearth the symbolic layers embedded in the natural world. This intersection of ecological awareness and esoteric thought culminated in her ongoing project Alchemical Ecology—a term that she uses to reflect both ancient alchemical traditions and contemporary ecological concerns.
Originally conceived as a triptych in oil paint, drawing inspiration from the sacred geometry of stained-glass windows, Humphrey’s project took an unexpected turn as her research deepened. Bronze casting emerged as a material central to the work, resonating with the alchemical notion of transformation and the accessibility of its historical, spiritual associations. The resulting large-scale 3D sculpture incorporates descending velvet ribbons referencing spiritual ascension, particularly through the triangular forms found in Hilma af Klint’s Altarpiece No. 1 (1915), the final piece in her seminal series Paintings for the Temple.
During a residency at Art Centre Penryn, Cornwall, Humphrey noticed subtle, site-specific symbols embedded in the architecture: a half-rendered Flower of Life inscribed on a pew and carved triangles that echoed both Jungian symbolism and Klint’s geometric language. These discoveries prompted a reorientation of her sculpture, aligning it more deliberately with the visual and symbolic language latent in the space. The final positioning of the work—nested within a bible shelf adjacent to a rare stained-glass triangle—further deepened the resonance between material, site, and synchronicity.
The installation invites viewers into a slowed and contemplative encounter, mirroring Humphrey’s own research processes of underwater observation and meditative inquiry. Bronze seaweed forms are discreetly placed throughout the space, encouraging quiet reflection. Through this sensitive integration of materials, site, and symbolism, Alchemical Ecology reimagines seaweed not merely as botanical specimen but as a conduit for connecting microcosmic and macrocosmic narratives.
Seaweed—once, for Humphrey, a substance to be avoided—has become a central motif in her practice. Initially repelled by its slimy tactility, she now documents its forms in meticulous detail, studying its structures in rock pools and underwater ecosystems. This intimate engagement led to a reappraisal of seaweed’s aesthetic and ecological value, challenging its conventional marginalisation.
The artist’s engagement with Jungian theory, particularly the concept of the collective unconscious, informs her attention to recurring symbols and synchronicities. Practices such as dream journaling, astrology, tarot, and TM inform her intuitive creative process, functioning as tools of both research and navigation. These methods support a form of visual mapping—what Humphrey refers to as an “alchemical imagination”—that unites material experimentation with symbolic insight.
A key influence on Humphrey’s sculpture was the esoteric work of Hilma af Klint, whose spiritualist group, known as “The Five,” conducted regular séances and used automatic writing and drawing as methods of creative and mystical investigation. Humphrey’s installation includes five bronze castings and five ribbons—subtle homages to this group and its legacy.
Ultimately, Alchemical Ecology can be read as an alternative cartography: one that maps the liminal spaces between art and nature, matter and spirit, intuition and technology. Through a materially and philosophically rich practice, Humphrey invites viewers to consider how the most overlooked forms—seaweed, rock pools, symbols half-scribed into wood—might offer portals to deeper understanding and connection.
Sarah Jane Humphrey is a an award-winning botanical illustrator and multi-disciplinary artist.