While studying portraiture, Emily Morgan Brown’s vision for botanical tapestries developed from her research on the ancient technique of grisaille painting – a form of grayscale underpainting to reference relief sculptures. After photographing her floral subjects to paint, she found that she had a hard time disposing of them after they had wilted and died. “As I crumbled one into my hand, the idea of making it into a tempera wash just made complete sense. It really felt like the missing piece and tied the materials back to the period in history I had originally referenced with grisaille,” says Brown. She views the large-scale grayscale botanical works as a lesson in history and a record of today allowing the subject to live on forever in its own portrait.