Friday, September 12, 2025

Making Cyanotypes in the Sun

I've been taking advantage of the late summer sunshine to make some cyanotypes with some of the specimen I gathered and put in my flower press while in New Brunswick and some "volunteers" from my garden.


Proso millet cyanotype, 11" x 14" by Ele Willoughby
Proso millet cyanotype, 11" x 14" by Ele Willoughby

Proso millet cyanotype, 11" x 14" by Ele Willoughby
Proso millet cyanotype, 11" x 14" by Ele Willoughby

Wild Carrot and Other Wildflowers cyanotype, 11" x 14" by Ele Willoughby
Wild Carrot and Other Wildflowers cyanotype, 11" x 14" by Ele Willoughby


Wild Flowers and Wild Carrot cyanotype, 11" x 14" by Ele Willoughby
Wild Carrot and Other Wildflowers cyanotype, 11" x 14" by Ele Willoughby

Two Ferns Cyanotype,  on handmade paper with a deckle edge, about 7.25" x 9.75"
by Ele Willoughby, 2025

Fern Leaf Cyanotype, on handmade paper with a deckle edge, about 7.25" x 9.75" 
by Ele Willoughby, 2025


Found Monarch Butterfly Wings, Wildflower and Leaves Cyanotype, on handmade paper with a deckle edge, about 7.25" x 9.75" by Ele Willoughby, 2025

Wednesday, September 10, 2025

New Natural History Prints

Every September I take part in #SciArtSeptember and post art on the daily prompts. You can see my picks and new prints on my socials  (Bluesky or Instagram or Cara). I'm going to share my new prints, including sneak peeks here.

First up, for the prompt islet, I made a mono print on my gel plate using pencil and acrylics. 


Islet monoprint, 11" x 14" by Ele Willoughby, 2015
Islet monoprint, 11" x 14" by Ele Willoughby, 2015


I was thinking about the tiny islands in the lake in New Brunswick. Islets, too small for human habitation can be a refuge for wildlife.

For the prompt jewel, I made a linocut ebony jewelwing damselfly. The forests of southeastern Canada and the eastern US are home to these metallic blue-green beauties known as ebony jewelwing (Calopteryx maculata) or black-winged damselflies. The males, like the one in my hand-carved and hand-printed linocut are turquoise with elegant black wings. The females are a duller brown with a white spot on their wings. Each print is on handmade khaki green paper with fibre inclusions and a deckle edge. I designed my linocut based on a photo I took in the Rouge National Park. Each print is 8" x 10".

my photo of an ebony jewelwing from earlier this summer 

Ebony Jewelwing, 8" x 10", by Ele Willoughby, 2025
Ebony Jewelwing, 8" x 10", by Ele Willoughby, 2025

For mimic, I shared the flower fly from my last post. The prompt trawl was also one which needed something new.

Glass Sponge Reef, 11" x 14" by Ele Willoughby, 2025
The Glass Sponge Reef, linocut print, 11" x 14", by Ele Willoughby, 2025

Glass sponges are fragile, brittle, living animals with skeletons made of silica, the same material we use to make glass. Reefs, widespread during the age of dinosaurs, are now quite rare, and in fact, were long believed to have gone extinct 40 million years ago. Then in 1987, scientists discovered 9,000 year glass sponge reefs or bioherms offshore northern British Columbia. All known glass sponge reefs today are found offshore BC, and its neighbours Alaska and Washington state. These important and beautiful biomes filter bacteria out of water, provide habitat for several species like spot prawns, halibut, squat lobsters and the rockfish in my print, store carbon and fertilize the ocean. These reefs in Canadian waters are now in marine protected areas as they can be destroyed, literally shattered, by pawn and crab traps, fishing lines, anchors and bottom trawling. Ocean warming and acidification are also damaging to these unique, vital ecosystems and natural wonders.

My 11" x 14" limited edition linocut print is made in watercolour paper and illustrates different glass sponges and a rock fish at the seafloor. The edition is limited to 8 prints.


Tuesday, September 2, 2025

Recent prints and patterns and calendars!

Since completing my Manufactured Ecosystems show I made one more pollinator. This print shows a great little pollinator in the garden: a transverse-banded flower fly (Eristalis transversa) on Echinacea purpurea or purple coneflower. Because of its yellow stripes, tendency to hover (it's a hover fly after all) and love of flowers, this little insect can be mistaken for a bee, but it's a bee-mimic fly. Like the bees, it's an important pollinator and friend to flowers and gardeners. The transverse-banded flower fly and purple coneflowers are native to eastern North America. Each print is made by hand on assorted, beautiful Japanese washi papers and collaged to make the final 8" x 10" image, which are hand-embellished with posca pens.

Transverse-banded flower fly, linocut, 8" x 10" by Ele Willoughby, 2025

I've been delving into surface design, creating all sorts of repeat patterns using my prints. You can find them on fabric and wallpaper in my Spoonflower shop.

9 of my repeat patterns made with my linocut prints, arrayed in a squate
Some of my repeat patters: monarch, echinacea and black-eyed susans; clownfish and bubble anemone; radiolarians; velvet worms; crows; heart cockles; diving beetles; humpback whales and T.rex amongst the flowers.


New this year, I decided to make a postcard calendar with my terms of venery prints!

First 6 months of 2025 minouette postcard terms of venery calendar
My 2025 Terms of Venery Postcard Desk Calendar! Check it out here.


A note on tariffs:

On August 29, the US removed de minimis exceptions for imports from anywhere. A lot of small businesses worldwide are really struggling to make this work. As a Canadian, the artwork and products I sell are CUSMA-compliant; that is they are tariff-free subject the pre-existing North American free trade agreement. So, buyers in the US should that be hit with unexpected extra fees. That said, there remains a fair bit of uncertainty with how Customs will see with mail or couriered packages. I have not suspended shipments. I can get Delivered Duty Paid service to ensure that buyers don't get a nasty surprise, though I am still figuring out how that works when no Duty was due in the first place.


Sunday, July 20, 2025

The Future of Pollination Artist's Talk for Manufactured Ecosystems

My full artist's talk for the Future of Pollination art show for Manufactured Ecosystems is available here: Everything you ever wanted to know about my art about bees, and more ;)

Wednesday, June 18, 2025

Rita Levi-Montalcini, from her clandestine WWII bedroom lab to Nobel Prize winning neuroscience

 

Rita Levi-Montalcini, linocut print, 11" x 14" by Ele Willoughby, 2025
Rita Levi-Montalcini, linocut print, 11" x 14" by Ele Willoughby, 2025. She leans on the incubator built by her brother, and holds an egg with her prized binocular compound microscope in her WWII secret bedroom lab.

This is a linocut print of Italian neurobiologist and Rita Levi-Montalcini (1909 – 2012) who won the 1986 Nobel Prize in Physiology or Medicine along with Stanley Cohen for the discovery of nerve growth factor. Hand-carved and hand-printed on delicate Japanese mulberry paper, each print is 11" x 14". She's long been on my radar as a possible subject for a portrait, being so well-known as a Nobel laureate and for many years, the oldest surviving laureate. Pictures abound online of her apparently living her best life, with a knowing smile and her signature swirled updo, often with a glass of wine

Rita Levi-Montalcini celebrating something
in hand, well into her 90s and even past her 100th birthday. So I had imagined a fun portrait of this delightful, elegant and charming, active Jewish senior scientist, continuing to produce good work, mentor younger scientists, establishing (with her twin sister) a foundation to provide scholarships worldwide, especially for African women, acting as Italian senator for life and regularly pissing off right-wing politicians.  But a client commissioned the portrait and specifically requested not her late life, nor the period around her Nobel win or research, but her wartime work, in her secret lab created in her bedroom. This seemed a real challenge as most photos I could find were in later decades, and the lab itself was not photographed. But I eventually found a couple of articles about her early career, which included a photo of her with her family in 1940, when they agreed she could make her lab, and a great article by fellow scientist/printmaker Bob Goldstein specifically about her wartime work. Bob kindly answered all my questions and even got me in contact with the archivists at Zeiss, so I could make sure I depicted her prized microscope accurately (if not the precise but unknown model, at least a plausible model which would have been available in Italy in 1940 and which would have served her goals) as well as an image of the type of observations she was making.

photo of the Levi-Montalcini family in 1940
via this paper

The youngest of four, Rita (along with her twin Paola) was born to an Italian Jewish family in Turin. Her mother Adele Montalcini was a talented painter and her father Adamo Levi was an electrical engineer and mathematician. She had planned to be a writer but the death of a beloved nanny to cancer inspired her to pursue medicine. Her father thought university would disrupt his daughters’ lives as wives and mothers but Rita knew she was not cut out for domestic life. Eventually he came to support her aspirations. As an undergraduate she was inspired by neurohistologist Giuseppe Levi (no relation) to study the nervous system and she stayed on after med school graduation in 1936 as his assistant. Her research and Levi’s, both, were cut short by the Italian dictator Mussolini’s 1938 Manifesto of Race and the introduction of racist laws baring Jews from academic and professional careers.

In 1939 she left Italy for Brussels, Belgium, where her older sister Nina and her family lived, and she was able to do research which involved using fertilized chicken eggs as a source of material. The research environment was challenging and she missed her family terribly. Soon, nowhere in Europe felt safe; she wrote "the whole world was in danger." She opted to return to Turin in December of 1939 to at least be close to her family, living with her mother, painter sister Paola and architect brother Gino in her large childhood home. They were not allowed to take part in the workforce and once Mussolini joined forces with Hitler and declared war on Britain and France, the industrial city of Turin became a target of nighttime aerial bombings. She was disappointed by the forced interruption in her research but that changed after running into a former colleague from the University of Turin, Rodolpho Amprino, by chance. While not Jewish, he too had left the university after the introduction of the racial laws. He was disgusted with the unjust treatment of Giuseppe Levi and the promotion of the new director of the Institute (not for his mediocre scientific sills, but for his closeness to the fascist regime).  Amprino went to work in Chicago but returned to Italy in 1940. When he learned Levi-Montalcini was idle due to being barred from employment he told her "you don't lose courage in the face of the first difficulties." He advised her to set up a small laboratory, reminding her that the famed neuroanatomist and Nobel laureate Ramón y Cajal had managed to do fundamental work in the sleepy city of Valencia, so she could work at home. With her family’s support, Rita transformed her bedroom into a a secret research lab. In the summer of 1940, she read an article by US-based German scientist Victor Hamburger about the development of the nervous system and how nerve cells accurately connect muscles to the brain. Rita called this a “conversion” moment for her research goals. Hamburger described the surgery he did on chick embryos the size and shape of a typed letter ‘f’ with a glass needle, investigating what would occur if he removed the limb bud target of a nerve; would nerve cells still grow towards the limb? Their absence post-surgery lead him to conclude the nerves never formed if he removed the limb bud. Her brother built her an incubator for eggs so she could use egg embryos in her investigations. She had a heater for melting wax in which to embed the embryos, so she could make paper-thin slices she could observe with her microscope. In December 1940, she made a a daring train trip to Milan to purchase a binocular compound microscope from Zeiss. In arguably the most Italian anecdote ever about the history of science, police spotted her with her cake-sized box and demanded to see what was inside, suspecting she had a contraband panettone only available illegally under rationing. Luckily they were uninterested in her microscope and did not suspect that she needed it for her clandestine bedroom research lab, because her heritage barred her from an academic research job in fascist Italy. It became her most precious possession. She lugged it with her, along with glass slides, when she needed to use to the bomb shelter. She ventured out into the bombed out city of Turin to fetch fresh eggs regularly. She repeated Hamburger’s experiments using a sharpened sewing needle for surgery, and expanded on his research, investigating chick embryos not just before and after surgery, but daily, counting thousands of nerves for for 2 to 19 days after surgery. She captured the development through time, rather than a simple snapshot. In August 1941, her former mentor became her assistant, having fled Liege, Belgium where he had been working until the Germans arrived. Levi-Montacini saw something unexpected (contradicting Hamburger’s understanding); Hamburger had thought it was the muscles like those in the limb bulb that told nearby cells to become nerves whereas Levi-Montalcini saw that nerve cells formed regardless of the existence of a limb bulb but would die when deprived of a target. This was a fundamental observation; cell death plays a central role in how our nervous systems form. She published her results in Belgium and in a Vatican science journal in 1942, where Jewish scientists were still able to publish. My portrait represents Levi-Montalcini in her bedroom lab in 1940, leaning on her incubator, holding an egg, next to her precious microscope. Next to her is an image of nerves she photographed through this microscope.

Eventually the bombings and damage in Turin became too intense and the family, like most other residents fled the city for the country, making a home in Asti. During occupation she was in continuous contact with the partisan leaders of the Action Party (Partito d'Azione) and after Florence was liberated she volunteered her medical expertise for the Allied Health Service, treating the injured and refugees with typhoid and other diseases. 

Hamburger read her article and invited her to the US after the war, to continue her research and collaborate as a research associate at Washington University in St Louis, where she ended up working for 30 years. Her research established fundamental role that cell death plays in the formation of nervous systems. Her ongoing investigation into how target tissues like muscles communicate with nerve cells so only those that find targets survive, ultimately led to her co-discovery with Stanley Cohen of Nerve Growth Factor (NGF) in 1952. NGF is a molecule taken up by nerves from their targets and it allows them to survive. She transferred bits of tumours to chick embryos and saw a halo of nerves grow around it "like rivulets of water flowing steadily over a bed of stones," unlike anything she had seen before. She hypothesized that the tumour itself was releasing a substance that was stimulating the growth of nerves; this was verified with Stanley Cohen's help. Foundational to neurobiology, this research was important to our understanding of neurodegenerative diseases.  She became a full professor in 1958 and, missing Italy, opened a second laboratory in Rome in 1962, dividing her time between Rome and St. Louis. 

She was director of the Research Center of Neurobiology of the CNR (Rome), from 1961 to 1969 and of the Laboratory of Cellular Biology from 1969 to 1978. She was appointed director of the Institute of Cell Biology of the Italian National Council of Research in Rome in 1977 and continued as a guest professor after her "retirement" in 1979. She was awarded the Nobel Prize for Physiology and Medicine in 1986. She wrote several books including her 1988 biography 'In Praise of Imperfection.' During the 1990s, she was amongst the first scientists to point out the importance of the mast cell in human pathology and she identified the endogenous compound palmitoylethanolamide as an important modulator of this cell. On 1 August 2001, she was appointed as Senator for Life by the President of Italy, Carlo Azeglio Ciampi. She went on to found the European Brain Research Institute in 2002, and served as its president. She was active well into her later life, even attending the opening of the senate at age 97 and attending Pope Benoît XVI 's visit to Rome's main synagogue at age 100. She died in her home in Rome on 30 December 2012 at the age of 103 after many years as the longest living Nobel laureate.

References

Goldstein, Bob. A Lab of Her Own, Nautilus magazine, December 1, 2021.

Piccolino, Marco. Rita Levi-Montalcini's first intellectual emigration and her research in her laboratory "à la Robinson Crusoe": The Letters from Brussels and a "Whiggish" recollection. Multidisciplinary Research in Neurosciences. Conf. Cephalal. et Neurol. 2021; Vol. 31. N. 2:e2021016.

Rita Levi-Montalcini (b. 1909), Bernard Becker Medical Library, Washington University School of Medicine, St Louis Missouri, 2007.

Rita Levi-Montalcini, Wikipedia, accessed May, 2025.

RITA LEVI-MONTALCININobelPrize.org. Nobel Prize Outreach 2025. Thursday 12 June 2025. 

Stafford, Ned. Rita Levi-Montalcini, February 2013. BMJ 2013346 doi: https://doi.org/10.1136/bmj.f804 (Published 11 February 2013)


Tuesday, June 17, 2025

The Future of Pollination - Manufactured Ecosystems

 

Our Fate Is Tied To That Of The Insects, linocut print, 16" x20", Ele Willoughby, 2025
Our Fate Is Tied To That Of The Insects, linocut print, 16" x20", Ele Willoughby, 2025

Pollinator Week is a great time to share this print, which expresses the central theme of my work about the Future of Pollination for Manufactured Ecosystems. I have been working on a collection of 15 prints for this show for the last several months. Our food sources and ecosystems around us are dependent on pollinators (mostly bees & other insects, some birds & mammals) but insects populations have lost huge numbers and many species altogether. Our future will be linked to their fate. Each of the bees, moths, butterflies and beetles in my print are native species here. 

Next week our art show will open at Zavitz Art Gallery at the University of Guelph. Each of the visual artists has produced work on various themes in various media about our ecological future looking forward the wake of climate change and habitat loss and at what we can learn from nature. I’m really excited to see what the others have produced! I hope you’ll come see the show if you’re able. 

Photosynthesis
Artist: Yulia Shtern @magical_zoo

Soil Formation
Artist: Lynx @amour.lynx

Cultural Services
Artist: Pablo Rios @the_amazing_world_of_redacted

Biodiversity
Artist: Melanie Barnett
@melanie.barnett.ceramics

Climate Regulation
Artist: Amanda White @thetiniestseed

Wednesday, March 5, 2025

Master Geng: Chinese Alchemist Geng Xiansheng, 'Refining Snow' or Using Mercury to Extract Silver from Snow

Geng Xiansheng, linocut 9.25" x 12.5" by Ele Willoughby, 2025
Geng Xiansheng, linocut 9.25" x 12.5" by Ele Willoughby, 2025

Mercury is the final prompt for #printerSolstice2425, which again made me think of alchemy. It is an element the alchemists favoured and felt was fundamental in their efforts to transmute base metals into precious metals, both in western and Chinese alchemy (from whence the more familiar western alchemy emerged). Chinese alchemy (煉丹術 liàndānshù), a name which literally means a method for refining cinnabar, or mercury sulphide (HgS) focused on longevity (and alignment with Tao) . It can be divided into the esoteric "inner alchemy" and "external alchemy" focused on making elixirs. 

The earliest recorded woman in Chinese alchemy was Fang (Chinese), who lived roughly the first century BCE and is credited with a method for turning mercury into silver. So little is known about her, and what little that is known is so tragic, that I opted for another woman alchemist associated with "turning" mercury into silver, ten centuries later.  

This is my hand-printed linocut portrait of a woman alchemist known as Master Geng who flourished some time before the year 975 (Chinese: 耿先生; pinyin: Gěng Xiānshēng; Wade–Giles: Kêng Hsien-shêng). According to legend, this daughter of a scholar named Geng Qian (sometimes spelled Keng Chhien),  was known from adolescence for her intelligence, curiosity and skill in alchemy. She appears in the writing of alchemist Wu Shu, in his book Chiang Huai I Jen Lu (or Records of Twenty-five Strange Magician-Technicians between the Yangtze and Huai River) written in 975. An expert in what was called "the art of the yellow and the white" (that is, alchemy), she distilled perfumes and was also known as a talented poet and magician. Her fame grew to the point that the Emperor Xuanzong (circa 846-859) invited her to the palace, where rather than being counted amongst the palace women, she was honoured as a scholar and given the title Master, as in teacher. She was eloquent, spoke with confidence and known for wearing green robes and for her skills in performing alchemical transformations in the Imperial Court. In particular, she was known for using mercury for "creating" silver. One story tells that she could even transform snow into silver. The Emperor wished to test her skills and noted that all her transformations employed fire  and enquired whether she could perform a transformation without it. 

"She answered, 'Let me try. It might be.' So the Emperor took some mercury and enveloped it in several layers of beaten bark-cloth, closing it with the [Imperial] seal; this she placed forthwith in her bosom. After a long time there suddenly came a sound like the tearing of a piece of silk. The Teacher [Geng Xiansheng] smiled and said: 'Your Majesty did not believe in my methods, but now you will see for yourself. Ought you not to trust me ever hereafter?' Then she handed the packet back to the Emperor who saw that the seal was unbroken and upon opening it found that the mercury had all turned to silver."

Song Dynasty scroll painting "Master Geng of the Southern Tang Dynasty refining snow'"

Modern chemists speculate that she might in fact have been using a legitimate chemical process which uses mercury to extract silver from ore. Likewise, her distilling of perfumes could have employed early prohibitive form of the Soxhlet process to continuously extract camphor into alcohol. Thus while alchemy differs from modern chemistry in aims and understanding, she would have been using some methods which we can recognize as scientific and can be seen as part of history of chemistry.

In her personal life she was known for her love of wine and romantic liaisons. 

My portrait is inspired by Song Dynasty paintings including one scroll painting called 'Master Geng of the Southern Tang Dynasty refining snow' and illustrations of alchemists and their tools like the large three-legged ting furnace in which medicines were prepared.


Detail Song Dynasty scroll painting "Master Geng of the Southern Tang Dynasty refining snow'"
Detail of Song Dynasty scroll painting "Master Geng of the Southern Tang Dynasty refining snow'"

References
Chinese alchemy, Wikipedia, accessed March, 2025
Fitzgerald, C.P. The Horizon History of China, American Publishing Co., Inc., New York, 1969.
Gordon, Robin L. Chinese Women Alchemists, Women Alchemists 2.0 website, accessed March, 2025.
Master Geng, Wikipedia, accessed March, 2025
Maxwell-Stuart, P. G. (2012-03-01). The Chemical Choir: A History of Alchemy. A&C Black. p. 13. ISBN 9781441132970.
Rayner-Canham, Marelene F.; Rayner-Canham, Marelene; Rayner-Canham, Geoffrey (2001). Women in Chemistry: Their Changing Roles from Alchemical Times to the Mid-twentieth Century. Chemical Heritage Foundation. pp. 4–5. ISBN 9780941901277.
Xin, Yang, Barnhart, Richard M., Chongzheng, Nie, Cahill, James, Shaojun, Lang and Hung, Wu. Three Thousand Years of Chinese Painting, Yale University Press, 1997