The Bare Necessities
In 1998, Wandersee and Schlusser introduced the term ‘plant
blindness’. They defined the term as ‘the inability to recognise the importance
of plants and the misguided ranking of plants as inferior to animals’. Plants
can be viewed as the main mediators between the physical and biological worlds
and play a significant role maintaining the climate. Therefore, it can be argued that plant
blindness is a considerable hurdle to be overcome as we can assume that without
sufficient recognition, it is unlikely that policies in plant conservation will
be supported at a time when we need them the most.
Book cover illustration - Onions and other vegetable alliums |
While theoretical assessments of plant blindness exist, there has been little done to implement and evaluate strategies that directly address or alleviate the problem. Clearly, awareness of plants is advantageous for both economic and social reasons and that there hasn’t been a more appropriate time than now to improve our familiarity with the world’s flora and its uses.
The way
we are living our lives causes the climate to change and critically endangers
many natural habitats. Finding a solution to this has become a massive
cross-cultural challenge. We have already taken substantial steps in addressing
the crisis politically, but it is imperative that the issue does not just sit
within the governmental and scientific arena, but that it becomes part of our
social fabric. I believe that with imaginative, creative thinking we are able
to design and cultivate a globally recognisable visual language. I therefore
want to develop our existing knowledge and use of scientific visual statements
so that we can design better policies and more globally effective forms of
communication.
By implementing an artistic visual language to extend current scientific representation in botanical art, I propose that it is possible to realise a more comprehensive and inclusive approach to environmental awareness.
The
practice of early botanical art was first developed in medicine. Illustrations
had an important role in herbals by transmitting information to individuals so
that plants could be identified without the use of words. Through the means of
observation, illustrations would depict a plant with its key features
throughout an entire life cycle. More recently, botanical illustration has been
used in many different fields of biological study and over time, scientists
have developed strict guidelines for this type of illustrative work, creating a
highly specialised visual language that is still used by botanists today.
Although useful in science practice, I
believe that this narrow view and use of botanical illustration, along with the
ascendant use of photography, moves botanical art away from the aesthetics and
spirit of our enquiry and has possibly contributed to its departure from
mainstream media and the visual arts.
Fortunately,
there are now botanical artists working to reverse this change who are
questioning the traditional usage of botanical illustration. This can be seen
through some significant contemporary changes in style and direction. An
extremely apposite example is the 2011 piece by the artist Rachel Pedder-Smith,
who presented an 18ft long painting using plant material from the herbarium at Royal Botanic Gardens
Kew. It illustrated the new biological classification system based on DNA
sequencing and was a bold, beautiful statement about the advanced level of our
scientific knowledge.
As a
botanical artist, I am constantly exploring divergent approaches to observation
in order to challenge the efficacy of our existing scientific language and to
inspire people to think beyond their own interactions with botany. My intention
for this project is to build a collection that utilises new techniques that have
never before been applied in botanical art, so that I may confront our current
perceptions of botanical art, its applications and how it sits within the
larger scope of scientific communication. Additionally, I propose to analyse the psychological and
cultural reasons behind the science-art divide and how this impacts society
whilst researching how people can engage with more inclusive and harmonious
botanical projects.
Production of top ten crops of the world |
The
culmination will be an interactive piece highlighting the global impact of the
consumption of botanically based products. In 2012 I began a personal diary
recording the origin and use of every single plant and its derivative that I
consumed over a twelve month period; from food and cosmetics to textiles and
pharmaceuticals. I recorded the quantity I used and logged the companies and
locations involved in every plant’s distribution. I intend to assemble this
historical data into a detailed and illustrated presentation that chronicles the
manufacturing and distribution journey that commercial products make from their
initial life cycle to the consumer.
In
accordance with traditional botanical illustration methods I propose to paint a
collection that depicts every species accurately and to scale. It is my
intention that the scale of each species will indicate the quantity consumed
and not that of physical size. This project has continually evolved since its
inception and it builds on several years of previous work and research with
plant collections. It will be original in its capacity to highlight and
underline the connections between the mechanical and natural worlds and in its
ability to challenge our current perceptions of botanical art and its use. The project will deliver not only on the
final collection, but also with an exhibition of all supporting research and
the expected publication of papers in the relevant scientific journals.
References
·
Ackerman, D. (1992). A Natural History of the Senses. New York : Vintage Books
·
Bachelard, G. (1994). The Poetics of Space. Boston : Beacon Press
·
Budd, M. (2003). The Aesthetic Appreciation of Nature, Oxford : Oxford
University Press
·
Burke, E. (2008). A Philosophical Enquiry into the
Origin of Our Ideas of the Sublime and Beautiful, New York :
Oxford University Press
·
Carr, K. (2016) I had myself a nuclear spring. [Album].
Rivertones
·
Cohen, K. (2009). In the Blink of an Ear, New York : The Continuum International
Publishing Group
·
Doyle, J. (2011). Mediating Climate Change, Farnham: Ashgate
·
Ede , S. (2005). Art and
Science, London : I.
B. Tauris
·
Fudge, R. S. (2001). Imagination and the Science-Based
Aesthetic Appreciation of Unscenic Nature, The Journal of Aesthetics and Art
Criticism, 59(3), pp. 275–285
·
Hall, M. (2011). Plants as Persons - A Philosophical Botany, New York : State University of New
York Press
·
McCandless, D. (2012). Information is Beautiful, London : Collins
·
Paterson, K., (2008), Earth-moon-Earth: Moonlight sonata
Reflected from the Surface of the Moon, Oxford :
Modern Art Oxford
·
Pedder-Smith, R. (2011) The Glow of Significance: Narrating
stories using natural history specimens PhD Thesis, Royal College of Art, London , UK
The
Genesis Strategy: Climate and Global-Survival
·
Slough , D. L. (2012) Plant
Blindness: An exploration and instrument development using the Delphi Technique
MSc Thesis, The University of Florida, Florida, USA
·
Toseland, M. (2012). Infographica: The World As You Have
Never Seen It Before, London :
Quercus,
·
Trigg, D. ( 2004), Schopenhauer and the Sublime Pleasure of
Tragedy, Philosophy and Literature, 28(1),
pp. 165-179
·
Tufte, E. R. (1990). Envisioning Information, Connecticut : Graphics
Press
·
Uno, G. E. (2009). Botanical literacy: What and how should
students learn about plants? American Journal of Botany, 96(10), pp. 1753-1759
·
Wandersee, J. H. and Schussler, E. E. (1999). Preventing
plant blindness, The American biology Teacher, 61, pp. 84–86
·
Wandersee, J. H. and Schussler, E. E. (2001). Toward a theory
of plant blindness, Plant Science Bulletin, 47, pp. 2–9
· Voegelin, S., (2010), Listening to noise and silence, New York : The Continuum
International Publishing Group
wonderful blog!
ReplyDeleteThank you Manon, that's very nice of you to say so. I try to get a good mix of my own botanical artwork and other people's/exhibitions and mix that with science and history with the occasional bit on embroidery because I like it.
Deletewow,thats a challenge and a half.Hats off to you Jess xxx
ReplyDeleteThanks Claire - yep - I think I am bonkers!
DeleteWOW! Jessica what a fantastic idea! I love it, how inspiring. I see you have been putting a lot of thought into this. I am also very passionate about conservation and the mass consumption of things these days concerns me. Looking forward to more updates on this project.
ReplyDeleteLaura
Thank you Laura, I am glad you like the sound of this project - I do too! Looking forward to it, I just need to get cracking. There has been a lot of thought and it's nice that you commented on that:) A good few years and concentrated months for sure. I hope you will enjoy the next instalments!
DeletePhew! Way to go, girl!! Massive challenge and I can't think of anyone better to tackle it. You'll do a great job Jess, and look forward to seeing it completed,in exhibition or your next publication!!x
ReplyDeleteThanks Terri - that's very sweet of you. Yes I thought it could make a nice coffee table book at the end. I might be on a pension by then though!
DeleteWowsers Jess! That will be some undertaking, but what a fantastic idea. As consumers we rarely think of the quantity of raw materials we actually use. As a geographer I will be interested in watching your progress. Good luck!
ReplyDeleteThanks Jarnie - yes, mega undertaking! I hope this project delivers some nice interesting things for you.
DeleteGreat idea Jess - and I can imagine you will have so many creative options for showcasing your beautiful talent. Can't wait to see them unfold xx
ReplyDeleteTa very much Vicki. Yes, it's so big I am not sure here to start, so I am reckoning on doing several prototypes and I'l see where they take me. Looking forward to meeting you in the northern hemisphere soon!
DeleteWonderful and formidable idea! Look forward to watching your progress.... What a journey you are taking :)
ReplyDeleteJess, what a creative and challenging idea! I look forward to following your posts and seeing how this all comes together. I am sure it will be marvelous and enlightening.
ReplyDeleteThis is going to be something very special - a wonderful idea!!
ReplyDeleteWhat a great project. Hats off and hope to see the results in your beautiful blog
ReplyDeleteSounds great Jess
ReplyDeleteSorghum, so important in the 3rd world, would be great to see your skill show it in a great light.
Chris
Very much looking forward to seeing more of this and especially images of every day foods we take for granted like wheat and potatoes, as they are really quite remarkable even beautiful in their own way, and they have been given so little artistic attention. Really a great idea and looking forward to seeing it all on show in the future.
ReplyDeleteCoral.
Love this idea Jess.
ReplyDeleteWow such a handy internet site.
ReplyDelete