Further evidence of his burgeoning avocation included founding the Midwest Center for Botanical Documentation, a visual archive of native plants of the Midwest. His lyrical pen and ink images of natives created for this collection are often composed to reflect their locations, mimicking the motion of the wind drifted hills and vales.
While working with CBG he discovered the American Society of Botanical Artists in 1996. He already had a full agenda in botanical art, but after his retirement, he began his support of ASBA through his art, his service as board member, executive committee member, and president of the board. He added writing articles for The Botanical Artist to his life, becoming instrumental in ASBA’s Wildflower Initiative, and starting the development of an ASBA Code of Ethics. He put people together whose common interests in botanical art and botany contributed to the growth of the genre and the botanical health of the plains. He was, and continues to be, clear that art does not exist in a vacuum, it must integrate itself into our lives.
His own artworks have been included in numerous ASBA exhibitions, one-man shows, and other miscellaneous exhibitions, and grace the collections of Brooklyn Botanic Garden Florilegium, the Royal Horticultural Society Lindley Library (RHS Gold and Silver Gilt medals for individual displays), the British Museum, and the Library of Congress. He is a Fellow of The Linnaean Society of London.
Recently, he and Ursel moved to Daphne, Alabama, near Mobile, to be near family and escape the long Midwest winter, which he believes starts in October and ends way too late. Not surprisingly, his true avocation – the one building connections – has found a home at the Mobile Botanic Gardens. In the few years since he arrived in the bay area, he has supported the growth of art classes and exhibitions in botanical art, outreach education in plant science, and botanical art and its role in the amazing history of the area (including Bartram’s presence in colonial/early national times - a fact well-known known to residents). He has organized the Coastal Alabama Botanical Artists' Circle. A current project is a class for students to create a series of individual flower images, inspired by a red, a white, and a blue flower. The resulting works form the basis of an exhibition in collaboration with the Mobile Museum of Art, “Red, White & Blue Exhibition – The Art of Celebrating History.”
Derek believes two words are key to the current trends in botanical art, and implicitly to his work - “…education and relevance.” Botanical art speaks persuasively and clearly to and for all the associated disciplines of botany, conservation, ecology, etc. His fervent belief in the connectedness of all things is eloquently stated:
“The concept of one picture is worth a thousand words gives a beautiful botanical painting of a flower the power to speak to the larger public audience in a way that botany and the other disciplines cannot. It has the ability to communicate so much instantaneously and at a very emotional level. Botanical art connects science to people with one finely tuned, articulate voice. And it draws us to plants, to conservation, and to a sense of awareness and concern that without plants we are nothing. All of which makes the subject of botanical art so enormously relevant - more relevant today, perhaps, than it has been for generations.”
So there you have it. Derek has spent his life building connections – people to people, plant to planters, art to artist. It’s been ASBA’s good fortune to be the beneficiary of his splendid avocations. Keep an eye out for that silver mane and great smile, it might just be the connection you need!