Interview with an Artist: Crafting Ethereal Cyanotypes Showcasing Colorado Foliage
During the warm summer season, Kristen Abbott enjoys embarking on what she refers to as “leaf walks.” While she meanders around the stream close to her residence in Colorado, Abbott collects leaves and wildflowers with a singular objective: crafting a cyanotype. The enchantment unfolds under the brilliant Colorado sun, following the artist’s gathering of all necessary elements for her artwork. After a span of ten minutes to several hours, her cyanotype comes to life, showcasing ethereal, natural shapes against rich blue backgrounds.
As a multifaceted artist, it’s no surprise that Abbott is captivated by cyanotypes. These processes, akin to the other mediums she engages with, are inherently experimental, compelling the artist to relinquish “control and repetition” for the sake of “unpredictability and texture.” The finished canvases embody that intuitive quality, allowing leaves and other natural materials to morph into delicate, fluid shapes that continuously interact with one another. While abstract, Abbott’s cyanotypes still retain echoes of her natural surroundings, reflecting the seasonal transformations and flora of Colorado in an inherently relatable manner.
“Residing in Boulder, I find myself immersed in trees, streams, and mountains—it’s nearly impossible to remain unaffected by that scenery,” Abbott states. “Nature reestablishes my connection to something greater than myself, and I aspire for my art to evoke that same sentiment.”
If nature is diverse and limitless, so is Abbott’s artistic approach. Cyanotypes represent just a fraction of her creations, as she frequently gravitates towards unconventional tools such as brooms, scrapers, and kitchen implements to produce unique visual effects. The stylistic diversity of artwork featured in her gallery, Liz Lidgett Gallery + Design, only amplifies this notion.
“I adore infusing surprise and unpredictability into my process,” she notes. “I want viewers to feel compelled to reach out and engage with the surface, to question how it was created. For instance, dragging a broom through a dense layer of paint can evoke movement and rhythm.”
My Modern Met engaged in a conversation with Abbott regarding her multidisciplinary approach, her connection to nature, and the method behind crafting her leafy cyanotypes. Continue reading for our exclusive interview with the artist.
**What does it mean to you to be a multidisciplinary artist?**
At my essence, I’m a painter—everything I create traces back to that foundation. However, being multidisciplinary signifies my ability to utilize a comprehensive creative toolkit to tell more profound, intricately layered narratives. In recent years, the cyanotype method has emerged as a pivotal aspect of my practice. Although it has its roots in photography, I tackle it with the mindset of a painter—prioritizing texture, unpredictability, and experimentation over control or routine.
I view every material as a partner, not merely a tool. I am less focused on conventional techniques and more intrigued by the interactions that occur when different mediums converge and evolve together. Recently, I’ve been exploring the process of curating environments. I don’t want my creations to simply adorn walls—I aim for them to influence a space, to foster a particular atmosphere. I envision my practice expanding into immersive, purposeful environments that invite individuals to fully engage with the presence and impact of art.
**Is there any specific medium that you find yourself particularly intrigued by out of those that you work with?**
I relish working in accordance with the seasons. During the cooler months, I find myself in the studio producing layered, textural abstract paintings. As summer approaches, I transition outdoors and embrace cyanotypes—partnering with the sun to craft transient prints. This seasonal transition invigorates me and introduces a natural rhythm to my practice and the materials I utilize.
I enjoy introducing new surfaces, tools, or techniques to observe how they interact with my existing knowledge. For me, it’s about maintaining an ongoing, inquisitive relationship with each medium—allowing it to evolve alongside me, and uncovering fresh potentials in familiar forms.
**What originally compelled you about naturalistic and organic imagery?**
Living in Boulder, Colorado, I am enveloped by trees, streams, and mountains—it’s unattainable not to be influenced by that landscape. In nature, I experience tranquility, presence, grounding, and an overwhelming sense of wonder. That’s the essence I strive to infuse into my creations.
In our hectic, overstimulated lives, it’s easy to detach from that sense of amazement. Nature reconnects me to something more significant than myself, and I wish for my art to convey that—a soft, grounded beauty within the environments where people dwell, relax, and find themselves anew.
**What is the process of creating one of your leafy cyanotypes?**
The process for cyanotypes commences at night, in my makeshift darkroom, typically my garage, where I apply a light-sensitive emulsion to paper, silk, linen, or wood. The following morning, I embark on what I term a Leaf Walk, collecting leaves and wildflowers from along the stream near my home.
Next, I bring everything outdoors to expose in the bright Colorado sunshine, allowing nature to work.