STORY BEHIND THE ART OF JOHN PASTORIZA-PIÑOL

15th Annual International

American Society of Botanical Artists at

The Horticultural Society of New York

Sierra Dawn Lily

Erythronium multiscapoideum

Marhan Lily

Lilium martagon x hansonii

Why did you choose these subjects to portray?

My primarily focus is rare and unusual plants. Re-introducing less commonplace plants and unusual species certainly engages the audience. The two lilies painted for the show were from a private plantman’s collection. Both plants are very difficult to cultivate here in Melbourne due to warm growing conditions, but both highly prized amongst serious plant collectors. Erythronium multiscapoideum is a species of flowering plant in the lily family, which is known by the common name Sierra dawn lily. It is endemic to California.

The Lilium work is rather special as this particular plant is extremely variable and it is very rare to get a dark form, which has been planted. This form has been growing in his garden now for 20 years. Lilies were once the rich man's plaything, when intrepid explorers and collectors sent back bulbs and seeds from Asia to Europe and America. The lily achieved its reputation for beauty and difficulty in these years between the end of the nineteenth century and the outbreak of the First World War. Martagon hybrids are derived from Lilium martagon and, initially, L. hansonii. The result of this union takes longer from seed to flower - between five and seven years - results for hybridizers are slower and commercial interest has been slight. 

The narrative shared by both works addresses youth and the desire to mature. Waiting to mature seems to take forever for adolescents as they are constantly bombarded with adult content in video clips, social media and pop culture. Keep in mind that there are things which look good in your eyes but their end is death.

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

Obviously with the medium of watercolour, patience and time are common challenges. Accuracy is vital, as the smallest exclusion of an integral plant structure may result in an incorrect identification. One of the downsides to this art form is that we are very critical on detail. If a work is not as detailed or as accurate, most viewers are shy to praise and quick to criticise. You must be thick skinned to deal with critique. The flower is always the first component to be completed as nature waits for no man and is always the first part to change/ deteriorate first. The foliage and bulbs/ root structure can take time as these do change too much. The markings on the Erythronium though do fade quickly so it was important to capture them early on.

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

The unusual and the macabre are the most enduring influences in my art. I aim to engender appreciation for contemporary botanical art and accurate realism. The simplicity of form, painstaking rendering and the clever use of negative space to create tension is certainly obvious in my work and amplifies the subtexts of: separation; birth; death and the human experience. My practice has become daringly innovative as the depicted subjects are floating forms devoid of grounding shadows, minimalist in their composition but rich in detail. 

How does these works relate to your body of work?

I believe my audience reacts emotionally to my work as each piece elicits a familiarity that merges the decorative and subversion. The appeal comes from a distinctive composition and painting style which has a dark sensibility. Critical to my creativity is exploring an elaborate narrative in the deliberate choice of subject matter. The signature of the broken or torn branches is uniquely mine and certainly adds to this sense of drama and unease.

Anything else!

Botanical art has been described as the meeting place between the arts and the sciences; however, many contemporary art practitioners describe the genre as ‘pure documentation devoid of any social context’ and therefore not considered as an art form.

Contrary to critique, we are witnessing an increasing interest in botanic art with artists and illustrators continuing the centuries-old tradition of accurately and artistically recording plants. Surprisingly there is a resurgence of realism in contemporary art practice which has inspired many prominent artists to adopt more contemporary interpretations and therefore pushing the boundaries of this art form into mainstream. More established galleries are showing interest in displaying this art, and subsequently there are more opportunities to study and appreciate botanic art.

It is truly humbling to be involved with this prestigious international show. 

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