© boshua Bohumil KOSTOHRYZ
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Dipl. Fine Art - Cape Technikon - Cape Town (ZA)
M.A. Art History - Frankfurt University (D) Dipl. Botanical Art - Society of Botanical Artists (UK) Fellow: Society of Botanical Artists (UK) Member: CAL, AAPL Luxembourg (L) | Botanical Artist's Association of South Africa (ZA) | Filoli Artist Registry (USA) 'Art and the Environment' Featured May 2018 in London-based blog: Fabulous Fabsters www.fabulousfabsters.com/sally-arnold-art-environment/ |
An 8 minute interview by Gita Claassen from 2018
Best viewed at fast internet speed |
Botanical artists are light holders, illuminating what current global societies are dramatically experiencing: significant imbalances in our relationship with Nature.*
My botanical fine art and plant portraits are situated at the nexus of art and science**, and use both artistic freedom of expression plus the requirements of botanical science, to produce images of exacting realism and poetic beauty.
The verdant slopes of the Eastern Cape's Amathola mountains and vast dry expanses of the Great Karoo were childhood inspirations urging me to observe, draw and model. Above our farm garden-oasis a vast crystalline blue sky, sometimes bursting with cumulus-headed thunderstorms of spectacular drama. Dusty earth and shimmering skies - primal textures, scents and light.
Nature's forms and vibrating colours are my guides. Especially the powerful sculptural qualities of a blossom or seedpod.
Drawing attention to exquisite metaphors for our own, transient, Earth presence in the face of man's unbalanced exploitation of nature.
I focus on rare, often endangered flowers and plants living on our planet, magnifying fascinating tiny details. Aided by photographs, I portray these on canvas in translucent oil glazes or on paper in watercolour and powdery coloured pencil. I adore thick, luxurious, handcrafted paper or fine linen canvas made in traditional mills. With pure, organic materials, and cured during natural drying processes, my painted oil surfaces develop a supple luminance resisting crackling. Varnishes are satin/matt or dammar/glossy.
My work is based on drawing, is slow and artisanal, uses the very best materials and strives for technical mastery.
I care about beauty, detail and sophistication - just like nature.
Artisanship allows me to position my gift of seeing the outer world differently - as a way of living and being,
engaging tactiley, physically with the world.
As an ordinary person wanting to do extraordinary things, my artistic purpose is to develop a powerful body of work that leaves a lasting impact on viewers. I attempt a poetic, drawn commentary on the originality of natural forms. Current drawings investigate the movement of plants and blossoms, rare inflorescences, seedpods and the ephemeral language of plants***
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* ‘One way to conceive what artists do is to think that they are, in their own way, running advertising campaigns; not for anything expensive or usually even available for purchase, but for the many things that are at once of huge human importance and yet constantly in danger of being forgotten. In the early part of the twenty-first century for example, the English artist David Hockney ran a major advertising campaign for trees. At the start of the sixteenth century, the German painter Albrecht Dürer launched a comparable campaign around the value of grass.’
For the Love of Art : Alain de Botton on Art as Therapy, Sothebys, April 14, 2020
** 'Contemporary plant portraiture, a hybrid genre with a complex history, is located within both botany as a scientific discipline, and art as a transformative visual practice'
South African Botanical Art: Peeling back the Petals: Marion Arnold, 2001
*** ' ... flowers would become for us an expression in form of that which is most high, most sacred, and ultimately formless within ourselves.
Flowers .... would become like messengers from another realm ...'
A New Earth: Eckhart Tolle, 2005
My botanical fine art and plant portraits are situated at the nexus of art and science**, and use both artistic freedom of expression plus the requirements of botanical science, to produce images of exacting realism and poetic beauty.
The verdant slopes of the Eastern Cape's Amathola mountains and vast dry expanses of the Great Karoo were childhood inspirations urging me to observe, draw and model. Above our farm garden-oasis a vast crystalline blue sky, sometimes bursting with cumulus-headed thunderstorms of spectacular drama. Dusty earth and shimmering skies - primal textures, scents and light.
Nature's forms and vibrating colours are my guides. Especially the powerful sculptural qualities of a blossom or seedpod.
Drawing attention to exquisite metaphors for our own, transient, Earth presence in the face of man's unbalanced exploitation of nature.
I focus on rare, often endangered flowers and plants living on our planet, magnifying fascinating tiny details. Aided by photographs, I portray these on canvas in translucent oil glazes or on paper in watercolour and powdery coloured pencil. I adore thick, luxurious, handcrafted paper or fine linen canvas made in traditional mills. With pure, organic materials, and cured during natural drying processes, my painted oil surfaces develop a supple luminance resisting crackling. Varnishes are satin/matt or dammar/glossy.
My work is based on drawing, is slow and artisanal, uses the very best materials and strives for technical mastery.
I care about beauty, detail and sophistication - just like nature.
Artisanship allows me to position my gift of seeing the outer world differently - as a way of living and being,
engaging tactiley, physically with the world.
As an ordinary person wanting to do extraordinary things, my artistic purpose is to develop a powerful body of work that leaves a lasting impact on viewers. I attempt a poetic, drawn commentary on the originality of natural forms. Current drawings investigate the movement of plants and blossoms, rare inflorescences, seedpods and the ephemeral language of plants***
--------------
* ‘One way to conceive what artists do is to think that they are, in their own way, running advertising campaigns; not for anything expensive or usually even available for purchase, but for the many things that are at once of huge human importance and yet constantly in danger of being forgotten. In the early part of the twenty-first century for example, the English artist David Hockney ran a major advertising campaign for trees. At the start of the sixteenth century, the German painter Albrecht Dürer launched a comparable campaign around the value of grass.’
For the Love of Art : Alain de Botton on Art as Therapy, Sothebys, April 14, 2020
** 'Contemporary plant portraiture, a hybrid genre with a complex history, is located within both botany as a scientific discipline, and art as a transformative visual practice'
South African Botanical Art: Peeling back the Petals: Marion Arnold, 2001
*** ' ... flowers would become for us an expression in form of that which is most high, most sacred, and ultimately formless within ourselves.
Flowers .... would become like messengers from another realm ...'
A New Earth: Eckhart Tolle, 2005
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© Sally Arnold 2011-23 All rights reserved
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