Daisy Arc in Outer Dark
Watercolour and Carbon on Paper
Studying large brush calligraphy in Japan was a major influence upon me as a young artist. This enabled me to bring the idea of space into my work. It is only through the practice and understanding of this particular art, and through combining it with the process of classical perspective, that I came to understand the nature of space around natural form.
After this awareness became my reality I wrote about it and taught this idea to others. Without this factor, the genre would perhaps still be in the old state of just using a neutral area of either white or black around the botanical form. Traditionally, the background has no meaning other than as a flat background.
Instead, we can observe space and hold it as a profound reality in our work, because it has been pointed out and understood and explained.
Being able to draw a plant in perspective directly from life with an awareness of real space, is a skill that brings an art work great authenticity. My early years as a professional artist were spent on achieving this capacity to do. Once achieved, the knowledge was imparted quickly to others, bringing enlightened moments to other practising artists.
I would not give my self the title of 'leading botanical artist', but I do regard myself as a pioneer artist in the Botanical Art field. I am often referred to as renown, or as an innovator, or as well known. Various artists who have been practicing as a professional botanical artist for less than ten years are currently claiming the status of being a leading Botanical Artist. They may not be aware that by claiming this status they have probably assumed the automatic responsibility of taking the genre forward. This is perhaps quite a vast responsibility.
I currently remain in my observers esoteric space to offer an explanation of my understanding when requested to do so. This is simply because so many have asked, and because I am able to explain what has been done and why it was done.
I sometimes wonder why we don't have at least one articulate academic historian in the contemporary Botanical Art field who can determine what was achieved and when. A good historian who can research as a scholar would be so welcome. Surely, there is somewhere a young art historian who would like to have this kind of career within botanical art?
And so on we go. Forthcoming and interesting posts are waiting in the files, so watch this space dear readers.