Writting's

1000 word symposium by Rachel Hogg

My practice explores the relationship between humans and plants, as I attempt to understand my place within creation and responsibility for the environment. Throughout history humans have increasingly distanced themselves from nature. Yet, despite this separation, our lives are consumed with an obsessive imitation of plants and animals, which is shown in popular art and design. Rooted in practice based research, my work plays on the similarities between the human and plant form and the daily presence of plants in human lives.

In the book Man through his art: Man and Animal, the author investigates the history of man-kinds relationship with the animal kingdom and the portrayal of this relationship through art from a secular point of view (Silva, de, A. Simson, V and O. Troutman, P. 1965). The book takes the reader on a journeying form primitive man, who saw himself as part of the animal kingdom, to modern man, who has replaced the natural world with technology.

World religions have also played a large part in our understand of nature. Theologians studying eco-theology have recognised that traditional theological views held by Abrahamic faiths have contributed to the environmental issues we see today. As a result many climate change aware theologians have called for a reformations of traditional eco-theological views, to emphasis responsibility and stewardship over the earth instead of unchecked control (Christian faith and the earth by Ernst M. Conradie, Sigurd Bergmann, Celia Deane-Drummond, Denis Edwards).

As the news is plagued with stories of deforestation and plastic pollination, society has become more environmentally aware. With key figures such as Greta Thunberg and David Attenborough bringing these issues to the forefront of the media. Documentaries such as the ‘Private life of Plants’ and ‘Seven Wonders One Planet’, have helped me to understand more the climate change crisis, plant behaviour , biomimicry and the wonders of plants.

My practice has also been informed by the history of botanical illustration at the Natural History Museum. According to historians most botanical illustrations are made to be printed and published as a form of scientific botanical education and information sharing. The earliest forms of botanical illustration were printed in black and white, with artists and scientists such as (Sir Hans Sloane), describing the colours of the plants in words, as this made it easier and cheaper for the images to be printed.Which has influenced the processes of monochrome print and drawings which I have used in my own work.

Influential artists

Exhibitions - ‘Eco- visionary’ at the RA and ‘In real life’ by Olafur Eliasson, which have inspired me to shed light on environmental issues and the wonders of nature through my art.

Lynn Skordal’s non digital mixed media collages. Her work prompted me to use embroidery as a drawing material, as I have created drawings that referenced both organs and leaves.

Fiona Hall’s intricate drawings of native leaves on banknotes, which comments on the value of plants as the basis for our economic income.Her work has encouraged me to think about the canvases I use for my drawings and the meaning behind the materials I use. In my own work I explore the influence of religious views and local communities on our environment by drawing on top of newsletters gathered from local community gardens and biblical texts about environmental care.

Thomas Hirschhorn work ‘Faculty Map’, which is a collage of text and image references, using art as research, enabling socio-political discussion. In investigating the history of botanical drawings as a method of sharing information. I have been drawn to using art as research and presenting my work in away which recognises it as research. In this body of work which I created called ‘ Compost’, I used a variety of materials and processes, such as etching, charcoal drawings, embroidery, ink drawings, photography, text and objects. A work which collectively creates energy and life for new works to grow out of. Referencing plants, the human body and the ubiquitous presence of plants in everyday human life.

Botanical photographer Samuel Zeller’s has helping me to rethink how I approach photography. My practice is directly inspired by real plants or photos that I have taken in local garden centres, botanical greenhouses, community gardens and parks. Zeller’s photos taken from city greenhouses, demonstrate the beauty and mystery of plants and take advantage of the unnatural environment of the greenhouse.

Naziha Mestaoui who uses technology such as 3D projection to connect her audience with nature. In her project ‘1 Heart 1 tree’ which has been projected on famous landmarks around the world. Members of the public were invited to take part in creating a virtual tree which moved and grew to the rhythm of their heart beat. For each 3D tree which was created a real tree was planted. Naziha’s ability to create real environmental change with her work is something I can aspire to. Her work and an interest in projection mapping lead me to create my own projections, focusing on bringing the outside world, inside.

William Morris, designer of wallpapers, textiles tapestries and stain glass windows. William Morris believed that the creating and designing of a piece of work could not be separated and that artists should be involved in both the process of making and design.

I have taken this philosophy on board in the making of my own work, maintaining a hand made approach and enjoying learning new processes in print and composition. Using screen printing to create a backgrounds for smaller drawings, which frame a larger charcoal drawing of the endangered ghost orchids. ‘Circle of life’ was given its name as it continuously draws the viewers eyes around and around the drawing, playing on the changing relationship between people and plants.

In my work I have wrestled with ethical questions concerning using real plants in art and the sustainability of the materials, as the majority of my work is paper based. However, I’m looking into more sustainable paper and I would like to explore teaming up with other artists who may use the waste I create to make work and vice versa.

In summary, my work explores the connection between humans and plants playing on similarities in form and the presence of plants in human life. Moving forward in my practice I would like to develop my understanding of printing methods, projection and sustainable art materials, creating wallpaper and wrapping paper designs, immersive environment’s, exploring biomimicry, human/ plant form similarities and plant species loss.

Bibliography

Conradie, M. Bergmann, S. Deane- Drummond, C. Edwards, D. (2015). Christian Faith and the Earth: Current Paths and Emerging Horizons in Ecotheology. Bloomsbury Publishing: London.

2. Silva, de, A. Simson, V,O. Troutman, P. (1965).Â Man through his art / Man and animal. Vol 3. Published:Â London : E.P. Publishing for Educational Productions Ltd.

3. BBC. (2020). Seven wonders one planet. (13/01/20). Available at: https://www.bbc.co.uk/iplayer/episodes/p07dzjwl/seven-worlds-one-planet

4. BBC. (2020). Private life of plants. (16.01.20). Available at:

https://www.bbc.co.uk/programmes/b01qbw1w/episodes/guide5. acciona(2019)art and sustainability (16.01.20). Available at: https://www.activesustainability.com/sustainable-development/art-and-sustainability/Land art -

5.Siegle, L. (2012). Ethical Living. Can art be environmentally Friendly? (16.01.20)Available at:https://www.theguardian.com/environment/2012/apr/15/lucy-siegle-ethical-art-paint

6.Hall. F and Roslyn Oxley9 Gallery.(2000). Federation Australian Art and Society. (28.12.19).Available at: https://nga.gov.au/federation/detail.cfm?WorkID=26201

7. Roslyn Oxley9 Gallery. (2002).Fiona Hall Cell Culture and Leaf Litter. (28.12.19).Available at: https://www.roslynoxley9.com.au/exhibition/cell-culture-leaf-litter/5lqak/text

8. Boxall, S.(2013). The Daily Spread. Cut and Paste Lynn Skordal. (10.01.20). Available at: https://dailyspreaddotcom.wordpress.com/2013/07/05/cut-paste-lynn-skordal/)

9. Tate. (2019). William Morris. (09.01.20).Available at: https://www.tate.org.uk/art/artists/william-morris-388

10. MacCarthy, F. (1994).William Morris: A Life for Our Time. Faber: London.

11. (29.12.19).Available at: https://www.telegraph.co.uk/culture/art/art-reviews/11164836/William-Morris-National-Portrait-Gallery-review.html

Red Rivers