Western Australian artist, Philippa Nikulinsky, is not only a superb botanical artist, but allies science, dedicated field observations and enormous skill to a passion for celebrating all the ecosystems of Western Australia. Her long years of art-making allow her to record the ever-changing landscapes, flora and fauna in a fashion that goes beyond environmental issues and political concerns, ultimately to achieve an incredible body of beautiful work that enriches Australia.
Read MoreEnvironment
Revisiting Earlier Drawings /
The tang of mint, the fragility of a lily - botanical drawing teaches about so many aspects of plants. Yet it is interesting to measure that as I have evolved as an artist, those earlier drawings have led me on to learning so much more about trees, rocks, environments, places. Seeing two exhibitions of my botanical metalpoint drawings up now in Berkeley and Oakland at the same time is both a celebration and a realisation of how the world can teach us artists so much more, all the time.
Read MoreRecurrent Themes in An Artist's Work /
Olive trees are an integral part of the Mediterranean landscape, and they have been a recurrent theme in many artists' work. Sacred trees since early Greek times, they are astonishing in inspiration, as well as generous in their fruit and oil. No wonder artists love to celebrate these astonishing and often very ancient trees.
Read MoreAprès Copenhagen /
Sadly, the results of Copenhagen do not surprise - the interests of too many powerful industries seem to take precedence over the future health of many parts of our world. I wonder what Goethe would say about such situations. He remarked once, "Science and art belong to the whole world and before them vanish the barriers of nationality."
Young Goethe, 1787, Angelica Kauffmann, (Image courtesy of Goethe-Nationalmuseum (Weimar)
I am not sure that Copenhagen bore out the first part of his observation for the barriers of nationality seemed to have been stronger than the collective science presented. So I am left wondering about the validity of his thought about art being deemed universal and breaking down barriers. I think that it is becoming more accurate insofar as Chinese, Indian, Indonesian or many other non-Western artists are gaining more and more success in the Western world, while high-profile Western artists are highly esteemed throughout the world. Whether it is because art is a more universal language or whether the highest profile artists are being skilfully promoted - by their representatives or by themselves - time alone tells, decade by decade. It is strange because science would seem to be much more cut and dried as facts, not needing the same dialogue as a viewer and a piece of art. Yet scientific facts seem to become much more politicised when it comes to issues like climate change/global warming.
Clearly Goethe regarded both science and art as valuable tools for banishing national barriers. Perhaps we still need collectively to deepen our respect for both, especially when it comes to a Copenhagen-like forum.