Madge Evers (b. United States) is a visual artist whose practice operates at the intersection of art, science, and mycology. Working primarily with mushroom spore prints, cyanotypes, and mixed media on paper, Evers transforms a traditional scientific documentation technique into a medium for investigating decomposition, regeneration, and interspecies collaboration. Her process is fundamentally collaborative—she positions herself as both maker and witness, allowing fungi, plants, wind, moisture, and time to shape each work alongside human intention. Evers's methodology is rooted in direct engagement with the natural world. She forages plants and mushrooms from her surroundings in western Massachusetts, pressing botanical specimens and placing mushrooms gill-side down onto composed arrangements. Over hours, billions of microscopic spores drift and settle, leaving ghostly impressions in white, black, or the luminous Prussian blue of cyanotype. The resulting images occupy a threshold between scientific record and abstract composition, documentary trace and imaginative speculation. Each piece carries the evidence of fungal life cycles while reimagining the herbarium tradition for contemporary art. Her work interrogates boundaries—between species, between disciplines, between control and surrender. The mushroom's reproductive impulse becomes a collaborator in the creative act; environmental variables such as humidity and air movement influence the final form. Evers does not fully control these processes but rather orchestrates conditions under which fungi can leave their marks, making visible forces typically invisible to human perception. The work functions as a record, a meditation, and a speculation: capturing fleeting moments in fungal lifecycles while gesturing toward deep time and ecological entanglement. Evers's practice is informed by sustained observation of cycles of decay and renewal. Her compositions reference the aesthetic traditions of botanical illustration and the herbarium while disrupting their taxonomic logic. Rather than preserving specimens for scientific classification, she creates biomorphic abstractions that emphasize interconnection, transformation, and the familiar strangeness of natural systems. Her work locates beauty in decomposition, finding visual poetry in the organisms that break down organic matter and sustain ecosystems. Her series The New Herbarium has been exhibited at the Brattleboro Museum & Art Center, Vermont (2022), and the Danforth Museum, Framingham, Massachusetts (Harvest, Foraged, Found, 2024). Her work has been published in Antennae: The Journal of Nature in Visual Culture and has been recognized through her selection as a 2021 Massachusetts Cultural Council photography finalist and a 2019 Critical Mass finalist. Her work is held in private and institutional collections. Evers has completed residencies at the Oak Spring Garden Foundation, Upperville, Virginia; Cill Rialaig, County Kerry, Ireland; Mount Auburn Cemetery, Cambridge, Massachusetts; the Kinney Center for Interdisciplinary Renaissance Studies at UMass Amherst; and Norton Island, Maine. These residencies have deepened her engagement with landscape, ecological history, and site-specific practice. After 25 years teaching in Rhode Island and Massachusetts public schools, Evers now works full-time from her studio in western Massachusetts, where she forages materials, cultivates fungi, and creates works that honor the transformative power and mysteries of the natural world.