Through the intersection of cyanotyping and quilt making, this thesis aims to examine how environmental awareness is addressed through art and memory, particularly in relation to plant identification and ecological feminism. Starting by tracing the origins of the historic cyanotype process from Anna Atkins’s botanical documentation to its role in scientific classification and colonial expansion, this project also highlights the tension between preservation and exploitation. The art of quilt making, as explored through the legacy of Gee’s Bend quilters and contemporary ecofeminist practices, will serve as a historical record as well as a form of collective resistance. By engaging with these themes and mediums in my thesis, I aim to explore how art can preserve and shape environmental and cultural memory while fostering a deeper, more ethical connection to the land.