My work seeks to elevate the diversity of botanical elements. The unique form and tone of even the humblest of plants is a source of wonder to me. I find a visually rich resource in the seed heads, stems, leaves and roots of plants. I honour and elevate the plant matter which would normally be disregarded, and often discarded. The works are semi-sculptural, incorporating plant materials which are presented in frames, boxes and stands so that the simplicity and elegance of the subject is enhanced. The pieces showcase the beauty of the botanic world, often in unexpected ways. I utilise specific parts of common plants, such as artichoke, nasturtiums and sycamore. These are presented in arrangements that encourage us to view them in a new way. The minutiae of any plant, whether seed pod, root or stem, is thus made the focus of attention. My concept draws on a lack of connection we have with our natural surroundings and hence a lack of awareness of the diversity of the botanical world. In all my work there is a juxtaposition of the refined regularity of our manufactured world with the wild diversity of the natural. My process begins with the gathering and drying these plant elements. There is an analytical element as I assess the material changes in the plant as it dries—some become too brittle to work with, others reveal new characteristics. I spend studio time arranging and composing how they will be presented. I employ a process of photographing the elements on various backgrounds and in different positions until I find the arrangement that resonates with me. My work as a bookbinder for fourteen years has translated well into my practice. I have an eye for proportion and precision along with an understanding of paper craft techniques. In some work I use a grid formation to present work, this has a gentle taxonomic effect. The diverse, organic nature of each individual element is amplified by its presence in uniform confinement. I mathematically define the proportions to allow space for the plant element to fit evenly within the frame. Delicate elements are attached to fine paper, with gently drawn grids, supported in a laser cut wooden frame. Textured root pieces are enhanced with a touch of gilt wax and presented in custom made black box frames to achieve an air of reverence. Fabric prints are another aspect of my practice. This involves scanning delicate elements in order to enhance and magnify the images. I use black and white to bring into focus to the tonal structural and use a repeat arrangement of the image to create an abstract effect. Sublimation print allows for the transfer of the image directly onto fabric. The use of fabric allows for further manipulation such a fraying. I strive for a sustainable practice. Having an understanding of the negative implications of our wasteful consumerist habits, I avoid the use of virgin materials in my practice as much as possible. My use of plant materials allows me to grow and harvest the elements I use. I also utilise the byproducts of edible plants or the pruning offcuts from decorative plants. The fabric I print on is sourced from second-hand shops and when packaging work I use post consumer card to construct custom made boxes.
