Story behind the art of Sengmany Phommachakr

Curious Allies: Mutualism in Fungi, Parasites, and Carnivores

The Fifth New York Botanical Garden Triennial

Deceptive Milkcap

Lactifluus deceptivus

I had the idea for this watercolor painting in September 2022 during a workshop led by Margaret Best on neutral colors in botanical art. Just over a year later, I completed my milkcap artwork.

Fungi make excellent subjects to explore nature's neutral palette. With other workshop participants, I foraged with Carolyn Bird, a local mycologist, on Marvin's Island, South Shore, Nova Scotia. This fungi treasure hunt in a mixed forest was not only fun but bountiful. After much deliberation – I found so many options – I settled on a fairly large specimen with a funnel-shaped cap that Carolyn identified as deceptive milkcap, a mushroom that exudes a white acrid latex when bruised or cut.

To create both an attractive and informative composition, I chose to display two views of the mushroom to feature the signature architectural curve of its cap on the central stem. It was a slow and intensive process from the outset with much technique and color testing for the numerous fine gills and textures. During the foraging adventure, I closely observed the forest floor where I found the specimen and looked for moss, fallen leaves, and pine needles. I saw wild blueberries too. Inspired by the accomplished mushroom painter, Alexander Viazmensky, I gathered some of these items for possible inclusion in my final composition.

I scattered the forest floor elements around my mushroom depictions because I wanted to add much needed visual movement as well as natural interest to the two main components of my painting.

The selected specimen proved to be quite challenging as it was my first time taking on a mostly pale-valued fungi subject. While the mushroom was still fresh and plump, I made a final detailed drawing recording the locations of highlights, shadows and reflected lights. Before painting, I started by protecting the white of the paper with masking fluid where I observed highlights. I then underpainted with neutral hues using both cool or warm blends where needed. To create the volume and texture of this milkcap, it was essential for me to carefully select neutral colors, let them dry completely between layers, and intensely observe light and shadow. 

Next Story

Back to List

Read more about this artist's work:25th Annual