SArchibald-WrightArt

Evidence in Sketch Book After collecting all of my research together i have been extremely drawn to the plants resilience, only enhanced further by its ability to with stand a nuclear blast. From this the plant becoming a symbol of eradicating nuclear warfare and actually being presented as a 'Prize' to cities who become nuclear free. A plant having such a strong history and is very symbolic in multiple ways is something i'm extremely interested in exploring further. While investigating the ginkgo tree and seeing how this may become present in my artwork will be an on going process but i know i must not neglect other investigations - not to put all my eggs in one basket.  Research - Websites https://e360.yale.edu/features/peter_crane_history_of_ginkgo_earths_oldest_tree https://www.bbc.co.uk/news/uk-england-manchester-29920359 https://www.telegraph.co.uk/news/obituaries/8941542/Akihiro-Takahashi.html https://www.nytimes.com/2017/08/04/opinion/the-whis

I have always found plants extremely fascinating, their natural beauty combined with their complex genetic makeup creates completely unique elements to each individual species. Charles Darwin, known best for his theory of evolution, questioned why are there so many different species of one singular plants.  He demonstrated that the varied colours, shapes, and smells of flowers are adaptations used for conning animals into transporting their pollen.   Their manifesto of uses from food, medicine, oxygen producers all collate to an endless amount of research that is never ending. Interestingly plants ability to evolve and sustain their selves, even when us humans are destroying them. They have evolved themselves to live belong side us, growing in cities and other man made environments.  Frederick B. Essig  an  Associate Professor Emeritus at the University of South Florida as well as author of  Plant Life: A Brief History  states that by "Delving deeper into the lives of plants, on

Reflecting back on the second half of last year indicates a turning point in my practise. For the most of the year I seemingly meander with no definitive coherence, yet the turning point to me exposed itself during the exhibition at Firstsite. The silent critic of my artwork indicated to me that i had accomplished what i set out to do and that was to inform without thrusting the knowledge upon someone. I want to allow my audience to impose their own interpretation even if they may be alternative to the intention. If the audience is raising questions then i'm doing it right. This act resulted in my piece Forget-Me-Not informing, without telling, in a poetic manner characteristically of organic forms. The critic also lead me to investigate plant origin, history and anything factually interesting that caught my attention. I find myself getting lost in research, gaining as much knowledge on the topics as i possibly can manage. This often stops me from creating physical bodies of work w