STORY BEHIND THE ART OF ASUKA HISHIKI

15th Annual International

American Society of Botanical Artists at

The Horticultural Society of New York

Brussels Sprout

Brassica oleracea

Prickly Pear Fruit

Opuntia ficus-indica 

What is your personal view of the artworks, for instance in terms of media, colors, composition? 

I try to capture what I see, and the world I'm seeing is simply beautiful. I don't change anything about my object. That is exactly what I see. I was looking for more words to answer the question, but I was clearly struggling finding them. Instead, I borrow Cezanne's statement; Painting from nature is not copying the object, it is realizing one's sensations.

 Why did you choose these subjects to portray? 

Usually, I pick my subject at the farmer's market. I go there without any specific target in my mind. As soon as I see a vegetable, I know it is the one; for instance an onion stands out from others. It was one of the days when I met the brussels sprouts. It was remarkably beautiful. The case of the cactus fruits was kind of opposite. These were in a corner of an ordinary vegetable store in Queens, and these were forgotten. When I saw these unwanted fruits, I thought of someone who found a genuine Picasso drawing in an old antique store and no one seems to realize it was Picasso's. These were a hidden treasure, and I was the only one who saw the value. The hardest time is when I am too popular - several vegetables talk to me at the same time. I have to pick one among many incredible subjects. 

Did you face any unique challenges as you worked on these pieces? 

I think this is rather common challenge for botanical artists. I had to face the challenge especially when I worked on Brussels sprouts. It was a huge vegetable, and the heat in my room wasn't helping me. It become soggy quickly and started to change its shape every time I looked at. I tried everything to delay the unwanted changes. I couldn't turn our heater off (the switch was broken!), so I opened my windows, brought ice, reinforced it with thread and tapes....still, I ended up using 10 to 15 brussels sprouts to complete the painting. Actually, when I work on a big subject, I will use several of the subjects which are in a similar shape unless it is extremely unique. For instance, when I drew a golden beet, I draw a leaf from a beet and drew one behind from another beet. I tried photographing my subject, but it didn't work. Instead, using several real vegetables and assembling them through my mind and eyes worked much better. 

After two months of being in a November cold room, of course, I got sick. However, brussels sprout chicken soup helped to nurse me back to health. 

 What would you hope people would notice or appreciate when viewing these works?

I am happy when people experience what I see.  

 Anything else?

Well, the show contains such wonderful and remarkable works. I am sincerely honored to be part of the show! Thanks.

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