Portraits of the goats and sheep at Big Picture Farm — the animals whose daily labor, alongside Louisa and Lucas's own, produces the milk, the caramels, the landscape. Named, known, particular.

Ongoing drawings and studies of the farm's animals — close observation rendered in ink and watercolor, attending to the specific gesture and character of each creature.

Chores is a video installation first shown in Shifting Terrain: Landscape Video at the Currier Museum of Art, Manchester, New Hampshire, July–September 2011. A collection of intimate and carefully composed clips, it follows the daily rhythms of Big Picture Farm — the morning and afternoon cycle of feeding, milking, trimming, bedding — at the pace those tasks actually unfold. The word chore derives from the Old English meaning "to turn" or "to convert," and that etymology is at the heart of the piece: through the labor of farmers and the work of foraging animals, weather, soil, and flora, a landscape is made consumable. The video moves between brief haiku-like clips and longer, more meditative passages, tracing a seasonal arc from winter snow through the arrival of spring lambs and fresh grass — teetering between romantic pastoralism and the absolute mundane, finding in the ordinary tasks of a particular place something singular and alive.

— children's picture book, in progress —

— images from disintegration subfolder to come —

— video —

— Saskatoon show + book —

— blog / process journal —

A collaborative artist's book made with Lucas Farrell during a residency in Iceland. Photographs and text made in and around Skagaströnd, on the northern coast.

A collaborative piece with Lucas Farrell, written in Skagaströnd, Iceland, in October 2009 — occasioned by a hook found piercing a boot-bottom, made immediately into a gift. Published in Diagram 10.1.

Photographs made in and around Seydisfjördur, a small town on Iceland's eastern fjords. Light, mountains, water, and the texture of a place that feels genuinely remote.

Work made in the Pacific Northwest tracing the collapse of the Chinook salmon — drawings, photographs, and found documents assembled around the question of what a species disappearing looks like from the inside.

Documentation and drawings from Sitka, Alaska, where Conrad attended a residency focused on the relationship between salmon ecology, Indigenous land use, and industrial fishing. Work made at the confluence of the Sitka Sound.

A body of work made during Louisa's graduate studies at CalArts, 2006–7, while her partner Lucas was completing an MFA in poetry at the University of Montana in Missoula. Over the course of a year, she built two opposing wall maps — one of Los Angeles, one of Missoula — using materials gathered from daily movements through the city: orange rinds, pomegranate seeds, charcoal from forest fires, fallen petals, bits of debris. The photographs document the installation's growth, shifting between the aerial and the intimate, tracking the transformation of landscape into memory and distance into form.

Drawings and photographs made in Los Angeles during the CalArts years — moths, blueprints, scanned objects — a quieter, more intimate thread running alongside the wall installations.

Installation and studio work made in Brooklyn, c. 2006 — drawings on walls, maps of imaginary places, objects arranged into temporary geographies.

An artist's book and photo-text series following a character named LMNOP through landscapes of longing and loss. Handwritten text circles, inverts, and runs alongside photographs — cornfields, forests, shadows, embroidered maps — building a narrative from the spaces between words and images. Published as a book.

Work made during a residency at Art Farm in Marquette, Nebraska, 2005. Surrounded by endless fields of corn and prairie grass, Conrad spent long periods braiding grass and working with corn tassels in her studio — transforming the raw material of the Great Plains landscape into intimate acts of attention. The photographs and drawings that emerged reckon with agricultural land as both fact and feeling.

Installation work made during a residency at the Vermont Studio Center in Johnson, Vermont. Using collected organic materials — milkweed, dried grasses, seeds, lichen, and wool — Conrad built floor and wall-based landscape poems that dissolve the boundary between specimen and scene.