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kim jaehyeong

Korean botanical award 2019,2020,2022,2023
Japan osaka Korean Cultural Center Group Exhibition of one 2023
Korean botanical art Instructor certification

Name: Jaehyeong Kim

Date of Birth: 2000.07. 10

City: South Korea Jeju

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Japanese Quince

Red flower and leaf balance Beauty

Japan Salvia

Red and White balance beauty


Red violet flower and leaf beauty

camellia flower

Red flower beauty


Katy Bennett

Katy works from home in Surrey, finding calm in her art studio amongst the chaos of bringing up three young sons.

An English graduate who pursued a career in Digital Marketing Software for 20 years, Katy decided to take a break in 2020 and apply for the Society of Botanical Artists Distance Learning Diploma Course, graduating with Distinction in 2022. Keen to support the SBA as an organisation, Katy recently used her digital marketing skills in the planning of the Plantae exhibition, as well as helping to organise the show. She was elected to the SBA Council in 2023.

Katy mostly works on commissions and exhibitions, as well as limited edition prints. She was commissioned for the cover of the de Jäger catalogue in 2021 and has since undertaken other commercial collaborations. She has been featured in a number of publications, most recently a case study for her Romanesco broccoli in Margarat Best's "The Value of Colour".

Awards -
Certificate of Botanical Merit, Plantae 2022
Award for Excellence, Graphite, Plantae 2022 & 2023

A serious fan of all intricate forms, especially Fibonacci, Katy specialises in complex subjects in graphite and watercolour.

Her aim is to produce artwork that is both subtle and dramatic, balancing precise technical detail with high contrast.

Intricate patterns in Nature feel innately beautiful and calming. Natural fractal forms, with geometrically perfect golden ratios, mean there can be no mistakes or fudging by the artist. Katy finds this enormously rewarding.

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Charlie's Sunflower

Plantae 2023, Award for Excellence, Graphite

Eryngium planum - sea holly

Botanical illustration for Diploma Portfolio

Pteridium aquilinum

demo-painted on the desk at Plantae 23

Cirsium vulgare

Another study of Fibonacci spirals!


Drawn for Assignment 2 of C17 SBADip
Plantae 22, Certificate of Botanical Merit
Plantae 22, Award for Excellence, Graphite


Fozia Shafique

I have a degree in Printed Textiles, but since, have delved into botanical illustration and fine art. Since gaining my degree, I qualified as an Art teacher, which then progressed to being the Head of Art at a grammar school.

I am a keen advocate for The Arts and use my position as the Head of Art to work with other schools and organisations to promote the benefits of Art beyond just drawing.

Whilst teaching, I actually stopped creating for myself, until recently. Inspired by my own students and the sudden realisation that I spend hours helping them to elevate their work to the next level, I started to spend more dedicated time on my skill. Last year I was awarded 2nd place in the adult category in the Hobbycraft Artist of the Year competition. Whilst this was not a botanical themed piece, it was still a wonderful experience and wonderful be recognised.

My preferred choice of medium is gouache. I love the versatility that the medium offers and vary my approach accordingly. I enjoy using traditional watercolour techniques when using the gouache such as wet on wet, dry on wet and dry brushing. I just love applying layers and watching my work grow and develop.
I have also created work using coloured pencils.

The majority of my work contains botanical themes, but I sometimes venture into other areas too. I have always been interested in painting and drawing flowers. Many of my tutors have noted that I am able to depict flowers in a gentle and beautiful way.

In order to develop my approach and learning, I continuously learn from many of The SBA’s alumni. At the start of the year I took part in Sophie Crossart’s online workshop which lasted 4 weeks. I hope to keep learning and developing my work. My favourite artists within this field currently are Sophie Crossart, Rosie Saunders and Marina Kiselyova.

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Munstead Wood 2023

Persimmon 2023

Pink Rose

Fig 2023

Rosa Floribunda ‘At Last’


Jessica Daigle

Jessica Daigle is an Illustrator and Designer for both Publishers and Universities including: The University of Connecticut, Penn State University, Brown University, Fine Gardening Magazine, The California Academy of Sciences and Tantor Media a division of Recorded Books. Jessica received her bachelors degree in Illustration from the University of Connecticut in 2011.

Jessica has produced over 1000 audiobook cover designs in her design career, and received the 2017 Audie Award in Excellence in Design.

Her botanical paintings have shown at various international and regional exhibitions. Notable exhibitions include: the 2020 Florilegium: A Gathering of Flowers at the Royal Botanic Garden, Edinburgh, Scotland; the 25th, 24th and 23rd Annual International Exhibitions, with the American Society of Botanical Artists; The Arnold Arboretum of Harvard University; and New England Botanic Garden at Tower Hill.

As a botanical artist I find that I'm drawn to plants that showcase unique color gradients and textures. The techniques I use to develop textures and color gradients are both dry brush and glazes. These methods give me the ability to build the color I'm looking for as well as develop richness in value.
Having a background in book cover design forces me to always see my botanical paintings past the plant, but as a narrative. While my main intention is to capture a specimen in its truest form, I am also always considering the moment in time of that specimens life cycle. Whether I paint my specimen in watercolor or oil, it has to suit the plant that I'm painting and further develop the story I'm telling.
My goal as a botanical artist is to create a piece that best portrays a plants single point in life where I think it's the most spectacular.

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Faded Fire-Quick Fire Hydrangea

This Quick Fire Hydrangea panicle was dried before I started sketching and painting it. I noticed beautiful clusters of fertile florets that stood proud from the larger more prominent sterile florets. The aging and dried state of these two types of florets was what I was most interested in showcasing in this painting.

Morning Foxglove

I was attracted to painting the Digitalis mertonensis due to the texture and coloring of the flowers. The tiny hairs that surrounded the protruding lip of the flower, along with the amazing pattern across the surface, was a captivating characteristic of this plant.

Black Barlow

This variety of Columbine, Black Barlow, had an amazing array of color from the petals to the stem. Along the thin stems the colors transitioned all the way up and laced with trichomes, almost invisible at first glance. Additionally, when this flower was in the sunshine the petal color that came through changed from cool dark tones to warm rich burgundies, which I captured here.

Fading Color

The lacecap inflorescence, of the Hydrangea serrate, showcased an incredible structure as it dried. While other hydrangea panicles dried and maintained their structures, this type of hydrangea dried into a completely new an interesting composition. The range of color it showcased as it dried further emphasized the beautiful texture of the inflorescence.

Ripening Blackberries

Ripening blackberries portray the most beautiful array of colors as well as sizes as they development. In this painting I wanted to showcase the moment in time before this berries are enveloped with the dark rich tones of the mature fruit.


Caroline Jamfrey

After achieving a degree in archaeology, I worked as an archaeological illustrator for many years; my work has appeared in a range of academic publications as well as heritage display. This trained me in observing and portraying detail as accurately as possible. This was followed by a stint in teaching, then work as a gardener whilst I undertook the SBA diploma. I have exhibited at Plantae 2022 & 2023, in an online ABA exhibition, and at the Stroud Open Studios exhibition.

Since completing my SBA diploma I have produced a range of plant paintings all in watercolour and all attempting to adhere to good standards of botanical accuracy. I always draw from life first, making colour notes, then back this up with a series of photos for reference. I have opened my studio in our established local annual event and sold paintings locally. I also currently have prints for sale in an Oxfordshire gallery in a well-known garden and have been offered an exhibition locally. Alongside this I have a range of cards (with designs taken directly from my paintings) for sale in 5 venues in the area. I am motivated to paint my ‘plant portraits’ by my deep love of and interest in plants-I work as a gardener and am constantly arrested by their beauty. My intention is to try to communicate this passion in creating my paintings.

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Late Summer Garden

This was a Diploma assignment piece as allowed in rules where applicant achieved distinction.

Autumn garden

This was a Diploma assignment piece allowed in rules where applicant has achieved distinction. The prickles on the Rosa rugosa were pronounced as shown in the painting, although this may be atypical for the plant: it was the reason I was chose to draw and paint it.


The background is a 'Coliro' watercolour with added mica named 'dark star'. I like to use background colour in some images to enhance the plant colour and to create a complete image rather a technical work. Essentially, whilst remaining botanically accurate, my intention is to communicate the nature of the plant, as in a portrait.

Summer Garden

This painting is an attempt to express the joyous nature of a summer garden bathed in sunlight with all its gaudy majesty. I have included insect specimen to represent the living nature of the subjects, and their ephemeral nature. The background is a 'Schminke' gold which has added mica to make it glisten. This painting was exhibited at Plantae 2023.


Like most of the flowers I paint, I grew these chrysanthemums in order to paint them. I was fascinated by their exquisitely fine and unusually pigmented petals. The deep red/purple one was chosen to contrast with and match tones in the other two. This painting was exhibited at Plantae 2023.


Joanna Thomas

Hello, I am Joanna, a Contemporary Botanical Artist residing in Berry, Australia. While my roots trace back to Brisbane, where I grew up and obtained my Bachelor of Education in Visual Arts, and devoted nearly two decades to educating in Visual Art, Science, and Horticulture.
My childhood memories are adorned with the splendour of gardens and the lushness of flora that surrounded me. However, it was when I acquired my first home that my passion for plants truly blossomed. Fuelling this newfound passion, I pursued and obtained my Diploma of Horticulture, immersing myself in the knowledge and practice of cultivating nature's wonders.
As I grew my own family, I embarked on the delicate balancing act of nurturing a home and fostering my artistic endeavours. Drawing has always held a special place in my heart since my earliest days, and the opportunity to intertwine my love for drawing with my love for plants felt like an exquisite symphony of purpose.
I am an active member of the Bowral Botanical Artists Group and the Botanical Art Society of Australia (BASA). Since the beginning of 2022, I am now exhibiting with BASA and the Bowral Group. I also regularly enter local open exhibitions and sell my images on products in stores.

My artistic heart finds solace in the medium of the graphite pencil and paper stump. Its gentle strokes allow me to transcend the confines of obvious hues, empowering me to illuminate the intricate lines, textures, and harmonious contrasts that nature so exquisitely fashions with its leaves, flowers and seedpods.
Amidst COVID-19 lockdowns, I embarked on a prolific journey, drawing inspiration from my own garden and the landscapes that surrounding me. However, this year has seen me pivot towards celebrating the resplendent tapestry of Australian native plants and their blossoms, a homage to the captivating landscapes that flourish around us.
Last year, I was awarded a grant by the Shoalhaven Arts Board, enabling me to engage in professional development under Melinda Edstein, from Sydney, Australia. This immersive experience aimed at enhancing my proficiency in the realm of colour pencil techniques. Recently, I finished my colour pencil, 'Waratah,' which stands as a testament to my evolving skills in this captivating medium. As I gaze towards the horizon, I am hopeful and determined to further explore the potential of colour pencil artistry, alongside my love of graphite, envisaging an exciting chapter in my artistic expedition.

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Iris germanica

Papaver nudicaule

Acacia podalyriifolia

Corymbia ficifolia

Telopea speciosissima


Rachael Hughes

I started painting in 2013 when I joined the SBA Distance Learning Course, but prior to that I don't have any artistic background.
I gained a distinction in that course but due to family commitments and becoming a carer for a family member I was unable to devote much time to painting. I did however have 2 paintings accepted for the Plantae exhibition in 2019.
I started painting again last year and was accepted into the Hampton Court Palace Florilegium Society where I have had some paintings shown in their recent exhibition at Sunbury Galleries. I am currently working on my first painting for the archive.
Last month I was commissioned by Appletons Wool company, who supply tapestry wool at the Royal School of Needlework to design 4 small paintings into tapestry kits.

I mostly use watercolour on paper or occasionally vellum with as limited a palette as I can manage in order to keep the colours as clean as possible but I also enjoy working in both graphite and pen and ink.
In terms of subject matter it is my preference to work from a real plant, but I'm happy to use photos when necessary, or a video taken from the plant revolving on a cake turntable so I can see from all angles - not always practical though!
My favourite plants to paint, so maybe my area of interest are carnivorous plants and orchids, but as I have only really started painting again this year, I think those interests are likely to evolve - there are some amazing tulips at Hampton Court Palace for example as well as some beautiful trees that I'd like to tackle.

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Oriental Poppy Seed Heads

Primula Acaulis


This piece was one of my final submissions for the SBA Diploma

Sycamore Maple Seeds

This painting was exhibited at the SBA Plantae exhibition at the Mall Galleries.

Linlithgow Autumn Leaf


Kim Jaehyeong

Born on July 10th(south korea)
Acquired first-degree instrustor in Botanical Art in 2020
Winner of the 2022 International Taehwa River Contest
2023 International Botanical Art Contest Encouragement Award
(hosted by Korea)

Kim Jae hyeong

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A silk tree

300g cotton and holbein paint are used to express the flower of the silk tree in detail, and the texture of the tree is stronger than it actually is, raising the soul of the silk tree

Sage flower(Japan)

The petals of Sage's characteristics are precisely raised to depict areas that you haven't seen before.

Camellia flower(South Korea)

Camellia flowers in Korea have many meanings, and there were sad things in Jeju Island where I live. It is a representative flower of jeju amd expresses the hearts of people with red petals of camellia.


Botanical art is an expression of life that matches nature because it is considered a plant art and an art that includes life.

Goofy swimming around a tree in the water

It is known that life began in the sea before life was born on earth, so if trees grew in the sea at that time, and life was expressed abstractly around it.


Matthew Peace

My name is Matthew and for as long as I can remember I have done some form of art. However in the last 5 years I have begun to hone my skills and study plants. I have always found plants fascinating and capturing every microscopic detail gives me enormous pleasure.

I have tried most mediums but I find coloured pencils to be my favourite medium. I have learned from using online tutorials and hope to start the diploma for the SBA this year. I always use fabriano artistico Hot pressed paper and a combination of Faber-Castell polychromos, prismacolor and caran dache luminance pencils.

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Clematis Florida

Iris Germanica


Atropa Belladonna


Joyce Bradbeer

I have been painting botanical subjects since the early 1980s. Encouraged by my grandmother, herself an accomplished botanical artist, I was largely self-taught until recently following early retirement I was able to take up more formal training. My first course was “Beginning with Anemones” with Elaine Searle at the Chelsea School of Botanical Art in 2018. I was considered of sufficient ability to partake in more advanced courses at the CSBA with Christabel King, Martin Allen and Helen Allen. I have also attended workshops run by Helen Allen and now regularly attend workshops with Sally Pond. During lockdown I undertook distance learning projects with Christina Hart-Davies. In 2022 I attended a 1 week course at the Transylvania School of Botanical Art taken by Julia Trickey. I have successfully exhibited in Salisbury in conjunction with the Cathedral Open Gardens and at the St Barbe Museum in Lymington. I have received and executed some commissions and wish to extend this side of my practice. I am an active member of the South West Society of Botanical Artists and the Association of Botanical Artists

My current practice is based on garden flowers and wildflowers of the New Forest. My work is largely a traditional watercolour style using graphite drawings from life, developing tonal drawings and colour swatches before transferring to watercolour paper using Fabriano Artistico high white. Much of my work is life size, I include enlargements and bar scales as appropriate. I am particularly interested in the flowers of the New Forest, living in the National Park. I have joined a group of artists (including 4 artists who have been awarded gold and silver-gilt medals by the RHS) recording the plants of the New Forest in conjunction with the Park Authority for exhibition at locations around the forest. In the last 3 years I have exhibited locally and have had my paintings made into greetings cards which I successfully sell in local outlets. I would like to develop the professional aspect of my botanical painting by exhibiting at more prestigious galleries. To do so I have been advised I should become a member of an appropriate society requiring standards of excellence from its members as confirmation of my ability. As a member of the SBA I would ensure only the best of my paintings were exhibited to uphold the SBA’s values.

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Blue hydrangea

Purple hellebores

Gladiolus illyricus

This wildflower is a scarce wildflower found only in the New Forest. It is a protected plant under the Wildlife and Countryside Act Section 13 Schedule 8. The preparatory drawings and colour swatches were taken in the field and measurements and botany examined in the Hampshire Herbarium.

Stamens and styles of Magnolia x soulangeana

Gymnadenia conopsea Fragrant Orchid

This preparatory drawings, colour swatches and studies were completed in Transylvania at the Transylvania School of Botanical Art and finished in my studio in the UK


ji-young kim

I majored in landscape environment in Korea. And I'm working as a landscape architect.
Currently, I am studying the field of plants.

I started painting for two years. While studying plants, I saw plants dying plants. And I thought. It's good to look fancy, but I want to remember this. So I grabbed a colored pencil. I will continue to draw a picture where everything coexists.

My company once exhibited paintings. I wanted to introduce the field of botanical. And I want to tell the story of plants through pictures in the future.

The main material of my painting is colored pencils. I chose it because I have been close to Pen since I was a student. Also, the smell and touch of colored pencils are good. As you can see from the picture, I like strong and hard materials.

In the process of painting, I observe plants a lot. I am fascinated by the fluff and stamen hidden in the large form. I care about this part the most.

The most important thing in painting is light and storytelling. This part is because it gives life to the painting. I would be most pleased that the whole world could relate to each other through painting. May we become one through my paintings.

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Aeonium arboreum var.

It is an plant found at the Korea Forest Botanical Garden. Korea has four seasons. Every season is a plant that changes and size. Like a femme fatale. I became interested in this part. It is a plant with a hard stem and strong leaf color. Especially, the darkness of purple is the most attractive.

Helianthus annuus

I drew a sunflower on the sunflower.
A sunflower taller than me. This picture shows the growth process of sunflowers. I wanted to express the storytelling in one painting.
Sunflowers in Asia symbolize wealth and good luck. I want to get good energy for a moment through this painting that I see as soon as I open the front door. Good luck to you who see this painting.

Gossypium hirsutum

I drew cotton in the living room of my house. It has a touch and a view like cotton candy. I wanted to express this feeling in the painting as it is. This painting makes the space warm and smooth.

Papaver somniferum

I found it attracted by the intense color. It was a poppy that became a bright traffic light on a rainy day. I was fascinated by the wrinkled leaves of the dress. Above all, it was my first creation. The poppy that will be my first dress is still dancing in the picture.

And you can see the growth of this plant. This point is one of the characteristics of my painting.

Cirsium japonicum var. maackii

ussuri thistle.
It is a thistle with sharp thorns and colors. Personally, I like plants with strong shapes and colors. Unlike the view, A sharp-looking thistle is used as a medicine. Twist charm makes both people and plants fall in love.

My paintings contain memories and emotions.
Thistle blooming next to my late aunt's grave.
I drew it thinking of my aunt who I miss.
I dedicate this painting to my mother who misses her aunt.


Miffy Gilbert

I have lived a diverse professional horticultural life as magazine editor and freelance contributor to high profile professional horticultural magazines, combined with several years' experience as a business development consultant as well as horticultural educator.
I am a qualified Horticulturist and long-term member of the Horticultural Media Association Australia (Vic).
I have been painting botanical pieces for eight years and am just finding my feet in exhibiting my works.

'Hidden Splendours' (works from Jenny Phillips' Botanical Art School of Melbourne) (2017)
'Re-Framing Nature' Friends of RBG Melbourne (2019).
'Artanica' for the Mt Macedon Horticultural Society (2022)
'Revelations' solo exhibition at Seasons Restaurant, Cloudehill Nursery and Gardens (Dec 2021 - current)

I have always loved the little details in life and in nature. I enjoy seeing the overall design but can't help zooming in to marvel at the intricacies to be discovered up close.
As a convert to the botanical art and illustration scene, I am enjoying turning my mind to a new way of looking at nature. It has allowed me to re-discover plants and the amazing structures and natural design found within their form. I am loving putting my passion and respect for plants as well as nature's design into my paintings.

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Paris polyphylla

A lovely herbaceous perennial - quite hard to grow where I live. Also, anything with green "flowers" has my vote. I love that the petals are reduced to yellow filaments and the bracts take centre stage in framing the reproductive parts. Always a joy, surprise and relief when the Paris shows itself after a long winter. I hoped to capture the sun bouncing off the leaves and play on light that resulted on all the contours while still being botanically accurate. Loved painting this plant and I hope my joy shines through.

Diospyros kaki - Persimmon

Luscious and luminous is what I was going for. Both the leaves and fruit glow and shine. I love the strong colours which jump out from the wall at you - and yet when you peer into the detail it is all there and botanically driven. That is the goal anyway!

Velvety Beauty - Clematis

Worked hard to get the velvet shimmer that you see on clematis flowers as the pigments and petal texture hits the light. I tried to get up close and personal, bold and in your face with this one. Full colour saturation that shape-shifts as your eye progresses around the petals as they do in the garden.

Fabulous Fennel

I am proud of this piece for the framing of the subject, the subtle colouring in large portions of it and yet it looks lovely on the wall. One people gravitate towards to see the detail in the roots.


This was a bit a fun with the leaf interplay. Worked hard on the subtle colours and leaf texture.
(Jacobaea maritima syn. Senecio cineraria)


Hee Soon Baik

It was 13 years ago when I started to care about Botanic art.
It was a time when interest in the importance and preservation of nature spread in Korea.
My interest in plants led to drawing plants, I had to study plants, and I had to learn drawing techniques and skills.
I was always worried about how to zoom in and about accurate observation and sketches.
There was no place to teach professional Botanic art, so I took a few lectures on drawing plants, painting and exhibiting.
Then I got to know the Learning Course of SBA in the UK, applied for DLDC Course 15, and took a 30-month course. Luckily, I received the Society of Botanical Artists "PLANTEA 2020" Certificate of Botanic Merit among my Portfolio paints. After that, I found out that my painting skills improved a lot without realizing it, and I won several awards in Korea and gained self-esteem.
I have been commissioned by the National Arboretum of Korea to draw native plants, and the paintings are circulating at arboretums and botanical gardens nationwide in Korea
Also, my personal paintings are sold as goods at shops in the Natural History Museum in Korea.

I am not an art major, but I have always been interested in plants.
I observe plants, compare how they differ from other plants, look for data, and start drawing when I have some confirmation. Of course, I also draw general plant paintings, but I prefer to paint illustration of plants.
I usually use watercolors, but I often use pencils and colored pencils.
Botanic Art is a painting of the ecological process of plants, so it takes a long time. In recent years, I have been commissioned to paint native plants at the Korea National Arboretum.
Also, I'm drawing a plant picture for the opening event at the arboretum, which is scheduled to open in the city where I live.
Of course I show my paintings, teach Botanic art, and always be interested in plants.

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Athyrium wardii (Hook.) Makino

Description of the picture number in the Image 1 Detail file

1. plant 2. back of pinna 3. pinnule 4. indusium
5. opened indusium & sori 6. sporocyst 7. spore 8. tiller 9. scale

Asian beach jackbean (Canavalia lineata (Thunb.)) DC.

Asian beach jackbean

Asian beach jackbean, a tropical or temperate plant, is thought to have been grown by settling on a beach in Korea after the fruit floated in the sea. (Naturalized plants)
These beans are toxic, so in the past, Haenyeo(a woman who dives into the sea and collects seafood) were boiled and eaten for miscarriage when they were pregnant.
I drew this plant because I wanted to tell a sad story.

Squash flower

It was regrettable that the coveted yellow flowers bloomed early in the morning and withered in the afternoon.
The zucchini blooms separately from the female flower and male flower, and the female flower blooms with fruit, but if it is not fertilized, the fruit falls off.
Then, to keep the fertilized fruit getting heavier, make four vine hands and wind them up.
There were three vine hands from the stem of the male flower.
I am always impressed by the clever strategy of plants.

Lotus (Nelumbo nucifera Gaertn.)

I drew the process of growing a lotus flower that gives me coolness in the hot summer.
It's a long plant, so I prepared three sheets of long paper (20x50cm).
I focused on the process of each leaf, flower, and fruit.

6 Acorns

6 Acorns for jellied food (Muk)

In Korea, food is made from six kinds of acorns.
These fruits were said to have been food for pigs in the past, but now they have become valuable food for animals in the mountains.
These six trees are Jolcham oak (Konara oak) (Quercus serrata Murray), Sawtooth oak (Quercus acutissima Carruth.), The Mongolian oak (Quercus mongolica Fisch. ex Ledeb), Korean oak (Quercus dentata Thunb.), Oriental white oak (Quercus aliena Blume.), Oriental cork oak (Quercus variabilis Blume.). (Plant name from top to right).


Hilary Jean Gibson

I was born and grew up in rural-ish Essex, and can’t remember a time when I didn’t have a pencil or anything similar in my hand. I was always busy drawing, creating and writing myself stories.

Then when I was 14 my Dad started to take me with him on painting courses to Flatford Mill, FSC and this was the beginning of my love of working en plein air and John Constable!
My passion for drawing and perspective developed at Saint Martin’s School of Art during my BA Degree in Graphic Design (Hons. Ist Class. 1976-1979).
After living and commuting as a freelance illustrator for 15 years from Brighton to London, I moved west to St Ives, Cornwall in 1994 to focus on my own creative passions and projects. I left behind the commercial illustration in advertising and packaging and took an MA in the History of Modern Art & Design 1994-1997. FCA.

As Artist in Residence at Godolphin National Trust 2008-2010, I researched and completed over 90 drawings for my first self-published book; ‘Godolphin’, my final piece for an MA in ‘Illustration : Authorial Practice’ 2010, UCF.
I love to draw in historic houses, abandoned old buildings, and gardens, fascinated by the stories they can tell.

I love detail and I work en plein air and from direct observation.

I grew up in rural Essex and worked as a freelance illustrator for many years after graduating from Saint Martin’s School of Art, London.
I especially love drawing in pencil, coloured pencils and painting in gouache and watercolour.
My work has been influenced by Stanley Spencer, whom I wrote my dissertation about when I studied an MA in the History of Modern Art and Design and also by artists such as Stanley Baldwin and Cedric Morris.
Chiaroscuro, deep tonal contrast and imagination often help to suggest a surreal feeling in my images.
I delight in nature and I particularly love to draw plants in the habitats in which they grow.
I am fascinated by symbolism and myths, narrative and metaphor so research is equally important to my work.

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Orchid Phalaeonopsis

I bought this orchid for my Mum many years ago for Mother’s Day, since when it has flourished and been divided many times.
I drew it in her conservatory when the light provided a stunning tonal contrast and it was this wonderful chiaroscuro that I was keen to capture. My mum was able to watch me drawing and see the image not many years before she passed on, and I know sure would have been very proud when it was shown in the Society of Botanical Artists exhibition this year at the Mall.
This drawing was also exhibited at the Society of Graphic Fine Art in 2021.

The Passion

This drawing began from direct observation in the garden and later developed into the story of the crucifixion. It is a large drawing and took some time to complete. I wanted it to be richly detailed and for the observer to keep discovering more. I hoped the symbolism would be subtle and an ambiguity to exist between the hand of Christ or the hand of a gardener tending the unruly vine. The cross can also be seen merely as a trellis for the plant. Under Rex INRI picked tinted with silver gouache, can be seen the head of Christ wearing a crown of thorns, his hair falling vertically like the tend

Lockdown Daffodil Fields

This drawing evolved during lockdown when I discovered fields and fields of golden daffodils on my walks with a sketchbook. These fields stretched across open countryside overlooking St Ives Bay high above Hayle where I live.
For me the dying flowers which I brought home to draw, were symbolic, and became a significant metaphor of the time. Under the ground the bulbs were already storing energy ready for the next Spring, which was the sign of hope we all needed. Nature would find a way to survive.
This drawing was exhibited at the Society of Graphic Fine Art this year.

Iris Foetidissima

Hayle Estuary and Nature reserve are a short walk from where I live and every year the Canadian Geese arrive flying overhead in their v-shaped formations, announced by their deep honking.
The footpaths are edged with brambles, wild clematis and honeysuckle and this iris with its
jewel like seeds appears each Autumn. I love the crumpled casing as it unfolds almost like a paper bird in flight.
I have many drawings and paintings of this area which includes the beautiful King George’s Walk to Hayle harbour.

Clematis – (Commission for Popular Gardening Magazine).

I have always delighted in drawing nature, particularly plants. This passion developed in the garden I grew up in where my father was a keen gardener and I loved drawing the plants he nurtured. These paintings formed part of my portfolio and led to my first commissions as an Illustrator after I graduated from Saint Martins in 1979, which were a monthly series of A2 gouache paintings of beautiful plants for Popular Gardening Magazine. I’ve included one of these here to illustrate the continuity of my practice.


Nicole Oliver Pentucci

BEd (Hons):First 1999;CIOL
SBA DCDL 2018- Dip SBA (Dist)
Exhibition Plantae - LONDON - 2020. Asparagus officinalis
Exhibition Plantae - LONDON - 2021 Exhibiting Excellence Award
-Citrusx limon ‘Four Seasons’ Study ii
Exhibition Plantae - LONDON - 2022
-Citrus x limon ‘Four Seasons’ Study iii and iv

I have drawn, painted in oil and pastel since childhood. I developed skills in calligraphy and pen and ink sketching in Italy during my formative years.
I gained a First Class degree in Education, joined the CIOL and became a translator, teacher, teacher-trainer and eventually a language consultant running my own training company.
In 2006 we bought and restored a 16th century farm cottage and its gardens: a major project that has continued ever since and has fuelled my deep interest in horticulture.
For many years I had admired the work of Giovanna Garzoni for the Medici court and wanted to learn more about botanical art and working methods. Whilst researching gouache methodology I found out that Simon Williams had expertise in this medium and I was able to enrol on the SBA DLDC. Since graduating from the course I have continued to deepen my understanding and mastery of botanical gouache and watercolour. My passion for making gardens continues to inform my art - our farm is steeped in history and tied to the horticultural/rural heritage of this area. A legacy I intend to explore further through my artistic work.

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Vitis vinifera

This vine is located in an abandoned vineyard on the escarpment behind our cottage on land which once belonged to the farm.

Abutilon Nabob

Citrusy limon’FourSeasons’-Tree of Life Study i

Exhibited in Plantae 2021
Awarded best gouache exhibit

Citrus x limon`Four Seasons`Tree of Life Study iv

Exhibited at Plantae 2022

Citrus x limon `Four Seasons’ tree of Life study iii

Exhibited at Plantae 2022


Julia Bettis

Julia Bettis was born in 1978 in Glenville WV. Bettis received her Bachelor of Art Degree at Glenville State College and is a second year MFA Low-Residency student at Massachusetts College of Art and Design. Bettis has been included in several pop-up art shows with the Infamous Art Collective in Buckhannon, WV. Bettis first became interested in art during early childhood years, drawing, sculpting and using “earth pigments” around her home. Bettis is a visual artist working predominantly in oil paint and ceramic sculpture. She attributes her inspiration to her works of art to nature and the sublime. She has dedicated herself to the professional practice of art, marketing and selling several pieces of art. Bettis currently lives and works in Grantsville, WV.

The purpose for my work is that it be intentional and believable, without merely creating exact copies of my subject matter. Botanical imagery can be so much more than a reference source.  It can be a way to bring the subject’s essence and even an artist’s emotion into drawings and paintings. I gather inspiration from nature’s little treasures hiding in plain sight through direct communion with nature in the mountains where I live. My works often include water reflections, recessed caves, plants, trees, lichen covered rocks or moss folds that I’ve encountered as I explore. The term mise-en-abyme which greatly fascinates me as a source of inspiration for my work, is defined as a world within a world, as evidenced in the complex, repeating patterns of a fern bed mirrored in the shapes of each fern’s frond.  I tend to work small-scale because it is truer to the size of my subjects, allows for portable supports, and creates a more intimate experience.  I want my work to inspire others to value nature and simplicity for themselves. 

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Burnt Orange Sunflower

Garden Sunflower

Deep Purple Iris

Fire Iris

Lotus Blooms


Katerina Luna (Kravchenko)

Katerina Luna is a fine artist currently based in London in the United Kingdom. She creates exquisite archetypes of botanical organic images consisting primarily of watercolor. In her free time, she tends to her personal home garden of plants and flowers, where she also finds inspiration for her art. Katerina is a Graduate with Distinction from the British Society of Botanical Artists and a Foundation Member of the SBA. The need to create has always inspired her; she previously received a degree in Fashion Design and Textiles. Since 2016, Katerina has devoted her work to illustration and botanical art. Her work has recently been juried into Plantae, the Annual International Exhibition by the Society of Botanical Artists, and she won the Certificate of Botanical Merit in 2021 and received the People’s Choice Award in 2022. You can view more of her work and processes on Instagram, @catchoumeow

The botanical illustrations created by Katerina Luna are exquisite studies in detail, form, and texture. Her images are created using watercolor with particular attention to value and hue. The works are inspired by Katerina’s home in the United Kingdom and her personal garden. She is continuously inspired by nature, spreading peace, positivity, and kindness through her artwork. Katerina is able to give each botanical subject a sense of wonder and emotion where the viewer is transported into the natural setting. The subjects encase a kind of intimacy, with their attention to detail and texture, but also contain an emotional quality due to their handmade creation. While the art of creating botanical illustrations by hand has often fallen to the wayside, Katerina’s images show her use of realism and attention to detail transcend the contemporary means of reproduction. The works of art establish the botanical artifacts in their eternal beauty long past the ephemeral nature of their physical twin. Katerina Luna continues to be inspired by the enchanted beauty of the surrounding natural world.

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Allium cepa

‘Allium cepa’ got the Certificate of Botanical Merit in 2021
Even though the painting was exhibited I wanted to include it in application as this is one of my best works

Beta vulgaris

‘Beta vulgaris’ got the “People’s choice” award this year at the Plantae 22


This painting is a part of a merchandise design for Bourgeois magazine in Tokyo, Japan (11th issue that will be released in February 2023)
It wasn’t posted or exhibited anywhere before
The details are painted separately to be combined digitally into a composition


Mixed composition


Sabine Loos

Sabine Loos has lived with her family since 1995 in the picturesque town of Rudolstadt an der Saale, one of Friedrich Schiller's favorite places. She creates botanical illustrations and botanical art in her idyllic studio located at the foot of Heidecksburg Castle. She studied biology at the venerable Friedrich Schiller University in Jena and at ETH Zurich, earning a PhD in her major of microbiology on secondary metabolites in filamentous fungi. A childhood in the country ingrained a love of nature in her that was deepened further by studying biology. When she discovered botanical illustration in a beginner's course with Katja Katholing-Bloß in 2018 it felt like coming home.

After many hours of self-study and online courses that brought her great joy, she decided to deepen her skills more and has since been studying Botanical Illustration in the Diploma program at the Royal Botanical Garden Edinburgh. She will complete this in 2024.

Sabine's personal heart's desire is to revive the historical roots of botanical illustration in Germany and to see botanical art flourish again in Germany. She is therefore a member of the board of the newly founded ‘German Society of Botanical Art’ - Verein für Botanische Kunst Deutschland.

"Ever since I could hold a pencil, I've been drawing. Nature gives me the most beautiful and interesting motifs for this. I strive to depict natural perfection and beautifully balanced imperfections as they reach my eye. I love to narrate through painting the life of the plants I depict. Plants, their pollinators and symbionts are my deep source of joy and satisfaction."

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A traditional Hellebore portrait

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Helleborus spec., Ranunculacea

I appreciate and love the plant family of Ranunculace very much. It is considered as a very original plant family. When this Helleborus hybrid caught my eye, I was immediately fascinated by the rich petal colour and the contrast of its nectar leaves and stamens. Especially, I love and care for plants in my garden, that provide for insects. This Hellebore flowers very early in spring and feeds early insects. I enjoyed the lovely balanced colour contrast of this beautiful flower while painting this traditional inspired portrait.

Life cycle of Hedera helix, ivy

Hedera helix, Araliacea

I think ivy is a very often overlooked plant. It grows everywhere and some people think it would kill the tree it is climbing on. Sometimes we find very old, thick ivy stems which have been cut in our forests.

I decided to create an illustration which tells the most important facts about ivy. Even its flowers are interesting and beautiful when enlarged. They show a balletic beauty and during the ripening process the berries develop incredible colours. The ivy in my garden was the subject I used for my observation and studies. Birds help to spread ivy seeds.

climbing plants and evolved mechanisms

Creating this composition took a while. In my opinion, extraordinary plant portraits tell about the life of the presented plant. I wanted to depict different evolved structures of climbing plants. The common bindweed, Convulvulus arvensis, winds its stem around other stems or sticks. Ivy uses its aerial roots, Parthenocissus tricuspidata evolved adhesive pads and Lathyrus pratense transformed parts of its leaves into tendrils. Ivy uses anchor roots to climb up walls, trees or fences. The arrangement of these four species was a challenge and I decided to try a traditional floral arrangement.

Quercus robur

Quercus robur, Fagacea

This pen and ink page is dedicated to an amazing species, which builds up mighty trees, the German oak. Everbody knows acorns, but how many people are aware of oak flowers? That’s why I decided to focus on the generative part of the oak’s life cycle. The oak reveals its flowers during a short period, about 2-3 weeks in April/May. Male flowers are very simple, but their assembly in catkins make them dancing beauties. Even tiny female flowers are surprisingly colourful and very cute when enlarged under the microscope.

Portrait of Odontoglossum spec.

Odontoglossum spec., Orchidacea

This orchid is commonly known as Odontoglossum. While painting its portrait, I learned, that it is a hybrid created by 3 other species. One Oncidium species, one Rhynchostele, and two species of Brassia. I enjoyed painting buds and flowers very much.


Ingrid Arthur

Ingrid Arthur b. 1960
Ingrid Arthur was born in Shetland, living there until she left for the mainland at the age of sixteen to study at Edinburgh College of Art in 1977. She graduated with a First Class BA (Hons) in Tapestry Weaving in 1981, completing a post graduate diploma the following year. Whilst raising a family and working in the family business, art work took a back seat, however, Ingrid undertook several commissions and exhibitions, twice exhibiting at the Shetland Museum and Archives in most recently in 2016. Her interest in and love of Botanical Illustration grew over the yearsand in 2019 she enrolled in the Diploma course at RBGE.

I am currently developing the theme of a Shetland garden a bit further by introducing more plants that are typically grown there. I begin by making both rough and detailed drawings and find that working in graphite for most of the research of the plant helps me to get more familiar with its particular characteristics. Having a background in Fine Art makes me appreciate how important drawing is in the initial stages. I would, however, like to improve my skills with pen and ink and this is an area that I am planning on developing more. For finished paintings I use watercolour on paper, using some dry brush where necessary but always allowing the subject matter to dictate the technique used. it depends very much on the characteristics of the plant and I don't stick rigidly to any particular method. I trained in Tapestry Weaving and am exploring the possibility of incorporating the subject matter in my paintings into tapestry bringing many new challenges.

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Lonicera periclymenum

Lupinus x regalis

Fuschia magellanica

Rosa rugosa

Ribes sanguinium

All five of the paintings are representative of the plants you would find in a typical Shetland garden. All the plants I knew from childhood and love because of their ability to withstand the sometimes harsh growing conditions in Shetland.


Maryna Stasyuk

Maryna Stasyuk (Prague) worked as a Quality Engineer before shifting her focus to botanical art several years ago. She is fascinated by the fragile beauty of nature around us, finding satisfaction in creating detailed portraits of plants in watercolour. She likes to find beauty in the smallest parts of plants or in the common plants that we take for granted.

I am an artist living in Prague, Czech Republic.
In 2019 I began to paint botanical objects and developed a passion for demonstrating the beauty of plants and learned to pay attention to details.
In my works I always try to capture the beauty present in the smallest parts of plants or in the common plants that we take for granted.
I want to continue contributing to the world of botanical art by becoming a Fellow member of the Society of Botanical Artists.

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Walnut leaf

Watercolour painting on A4 sheet of Arches Grain Satin Hot Press paper


Watercolour painting on A3 sheet of Arches Grain Satin Hot Press paper

Maple Samara

Watercolour painting on A3 sheet of Arches Grain Satin Hot Press paper

White Magnolia

Watercolour painting on A4 sheet of Arches Grain Satin Hot Press paper

Autumn Rose

Watercolour painting on A4 sheet of Arches Grain Satin Hot Press paper


Maria Costake

Maria Costake is a freelance illustrator and graphic designer based in Bucharest Romania. She has a BA and a MA in graphic arts.
Illustration and design became her full-time job in 2017 and she has worked with various brands worldwide.
Her love for nature and animals is the foundation of her work as an illustrator
specializing in botanical watercolours and hand drawn flora patterns.

Maria can go with ease from one medium to another, but she feels the most comfortable doing botanical illustration traditionally on paper. She experiments illustrations in watercolor, in pencil, in ink, but loves the most the combination between watercolour and pencil as the watercolour helps her to illustrate the subject's base colour and the pencil is a great tool for details. She prefers using a graphite pencil for this.

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White Daffodils

Apple Flowers





Nadia Deon

I was born and grew up in Moscow.
Painting and nature were always what I loved the most. On weekends, in all seasons, I enjoyed long walks in a nearby park or in the countryside with my father. Great nature lover, he used to answer my numerous questions about any plant or animal we would meet.
I attended art school along with the public one for ten years and graduated in Fine Arts. Art won against biology as future path and I studied Interior Design in the Moscow State Stroganov University of Industrial and Applied Arts, painting flowers and landscapes on my own.
Few years after graduating I moved to Italy. There my two passions finally converged, finding fertile soil in its natural and cultural treasures.
I took part in various art exhibitions in Russia. The personal ones took place in Italy:
2014 "Passi sotto luce" and 2016 "Flora d’Abruzzo", both in L’Aquila
2016 "Polign’arte" Polignano a Mare
2019 "Festa del pane" San Demetrio ne’ Vestini, Abruzzo.
2022 "L’Agorà" San Demetrio N.V.
In 2019 I got the special mention of the jury in the 2 edition of the Exhibition and Contest of visual arts Senatore Cappelli "I muri che raccontano", San Demetrio N.V.
This December I participate in the exhibition "Wild Abruzzo", San Demetrio N.V.

I was struck by the beauty of this world since the very beginning.
Out for a walk in a stroller, the first time sitting, I squealed all the way, excited: the world revealed to be much more than my mom’s face and the sky with some treetops.
Nature is the facet of the world I love the most and it still excites me. I care about biodiversity preservation and environmental issues, since each life is unique and precious.
Every element of nature owns personality and deserves to be portrayed by someone who can read its personal story and interpret it. I choose the ones that move me. My method is picking the main features of the subject and colouring them with my emotions to build a bridge to the viewer.
My favourite medium is watercolour since I learned to love its unpredictable character. Once tamed, it gives transparency to impress air and light: the two elements I particularly care about when painting, as the other two come due to the medium’s nature: pigment as earth and water to transfer and transform it.
The path I see in front of me leads towards a free, essential brushstroke that tells no less and no more than needed to depict the world around me. I feel ready to follow that path.
Nadezda Nitsievskaya (in art, Nadia Deon)

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Juglans regia

2022, the most recent work.


2013. The first one in this technique, oil on natural coloured linen, with the background left almost untouched

Magnolia grandiflora

2019. This painting is a part of series that depicts magnolia in all seasons

Rubus fruticosus


Juniperus communis



John Pastoriza-Pinol

Solo Exhibitions
2022 Botanicum Series II, Scott Livesey Galleries, Melbourne
2020 John Pastoriza Pinol: A Survey, Tacit Art Galleries
2019 Sobriquet, Scott Livesey Galleries, Melbourne
2017 Nubile Perfection, Scott Livesey Galleries, Melbourne
2012 Hermes-Aphrodite. Nellie Castan Gallery, Melbourne
2011 Bio-Pop. Nellie Castan Gallery, Melbourne
2007 Botanicum Series I. Woodbine Art Gallery, Malmsbury
2006 John Pastoriza Piñol. John Adams Fine Art, Ebury Galleries, London

Grants/Residencies (selected)
2016 Denver Botanic Gardens, Artist in Residence Program
2016 Australian Arts Council Grant (Arts projects for individuals)
2023 Oak Spring Foundation, USA, Artist in Residence Program
2016-19 National Tropical Botanic Gardens, Kauai, Hawaii

Public and Private Collections (selected)
National Gallery of Victoria
Art Gallery of Ballarat
The Hunt Institute, Carnegie Mellon University Pittsburgh USA
RMIT University, Melbourne
The State Library of Victoria
Royal Botanic Gardens Sydney
Denver Botanic Gardens
Royal Botanic Gardens, Kew, UK
H.R.H The Prince of Wales, Highgrove Florilegium.
H.R.H The Prince of Wales, Transylvania Florilegium.
Tom of Finland Foundation, USA
Private collections

John is a contemporary artist based in Melbourne Australia and works in the mode of botanical painting. His practice often departs from the precise discipline of Naturalism and investigates complex and dynamic interrelationships of man & nature/ science & art. It is a commitment to painting as both a method and as a form of deeper inspection.
Being a recipient of many awards and accolades including ASBA Dianne Bouchier Award for Excellence in Botanical Art in 2013 and RHS Gold Medal 2005, has afforded him international recognition as one of Australia’s foremost contemporary botanical artists. His work is now held in numerous public and private collections around the world including: National Gallery of Victoria, Art Gallery of Ballarat, Hunt Institute, USA; Royal Botanic Gardens, Kew, UK; Royal Botanic Gardens, Melbourne; RMIT University and the Collection of Alisa and Isaac M. Sutton, to name a few.
His work is included in both the ‘Highgrove Florilegium’ and ‘Transylvania Florilegium’, projects created under the aegis of the H.R.H Prince of Wales’ Charitable Foundation. John is currently represented by Scott Livesey Galleries, Australia and recently had a solo exhibition titled ‘Botanicum Series II’.

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Magnolia x soulangeana_Vulcan

This painting won the 2017 Silver Medal, Science and Art, Past and Future, Shenzhen, China.

Papaver nudicaule Iceland Poppies

This work was recently shown in my latest solo exhibition at Scott Livesey Galleries, Melbourne.

Morchella elata_Book of Morells

This painting was purchase by the Royal Botanic Gardens Sydney for their permanent collection

Paphiopedilum x sanderianum_Screaming Eagles

This painting was done from a specimen growing in Kauai, Hawaii, USA. This also features in a chapter in the Botanical Art Techniques book Timber Press USA.

Colchicum speciosum 'Waterlily'

This painting won 2021 Best in Show, Flora the Art of the Plant, Botanical Artist Society of Australia.


Jauneth Skinner

Jauneth Skinner

Jauneth Skinner is an award winning artist and printmaker. She is also an accomplished botanical artist and illustrator. She has had 19 solo exhibitions (2022 –1989). The most recent was Botanica, an exhibit of her drawings, watercolor paintings, and etchings, on view at the Huntsville Botanical Garden in Huntsville, Alabama.

Her work was exhibited in over 200 exhibitions in 6 different countries, and is represented in more than 150 collections, including:
Smithsonian National Museum of Art Print Collection (Washington, D.C.)
Fogg Museum of Art Print Collection at Harvard University (Cambridge, MA)
The Rossi Library Archives (Rome, Italy)
Bodleian Library at University of Oxford (Oxford, UK)
Jigme Singye Wangchuck, King of Bhutan Art Collection (Bhutan)
Meridian Museum of Art (Meridian, MS)
Minnesota Historical Society (St. Paul, MN)

Skinner taught for over 30 years in three different universities and is a retired Professor of Graphic Arts (2019). Currently she is a Lecturer in the Department of Art at the University of Alabama-Huntsville. She is listed in Who’s Who in America (2022 – 2007), and was nominated for their Life Time Achievement Award (2022).

Jauneth Skinner
Artist Statement

While drawing botanical subjects there are always surprises – the plants respond as I admire and study them. I think of these works as individual portraits.

The plants move as the light makes its daily circuit through my studio. Many subtle changes occur – they turn toward the light, fade, droop, wilt. Colors change. Each transformation is a reminder the plants are alive.

It is difficult to drop everything in an overly busy life to make time to slow down, to draw or paint, especially while the plant is in season. Through drawing and painting, I get to know each plant intimately, and document the ephemeral life cycle of leaves and flowers. When they age too quickly I find myself mourning their passing – even as I struggle to capture their individuality in a drawing or painting.

Drawing is a form of meditation – a quiet space for creation. While drawing I get lost observing contours, veins, textures, and shadows. Imperfections remind me of the transient nature of life.

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Polymnia uvedalia ‘Bearsfoot’

Hippeastrum punecium ‘Salmon Pearl’

Acer palmatum ‘Sango-kaku’ Coral Bark Maple

Six North American Natives

Cliteria mariana Butterfly Pea
Campsis radicans Trumpet Creeper
Polymnia uvedalia ‘Bearsfoot’
Echinacea purpurea Purple Coneflower
Hydrangea quercifolia Oak Leaf Hydrangea
Tradescantia virginiana Spiderwort

Bromeliad neoregelia


Christine Mossman

Born in the West Midlands, I moved to Bristol to study Graphic Design at Bristol Polytechnic (now the University of the West of England) followed by a post-graduate Teaching Diploma at the University of Bristol.

I then spent 9 years teaching art and design at Secondary level schools in Bristol and Somerset.

I have also worked as a freelance Graphic Designer for the University of Bristol producing advertising material for lifelong learning activities and Widening Participation as well as other freelance graphics projects from a number of clients.

In 2017, I started the Society of Botanical Artists Distance Learning Diploma Course - gaining a distinction in 2019.

At present, I am in the process of developing a website and putting together a social media presence in order to capture a wider audience in appreciating my work and the work of botanical artists in general.

I use Stonehenge Aqua watercolour paper using primarily transparent colours. I have a passion for painting nature's treasures with particular emphasis on form, shape, detail and colour.

I work from life as much as possible using photographs to provide a supportive backup. Many of my paintings are inspired by the stunning colours of Autumn.

Preliminary accurate drawings of the plant/flower/leaf are essential for the final painting. My background in graphic arts allows me to analyse, and deconstruct to complete a botanically accurate piece of work. From these drawings, I then spend time developing the final composition by producing a number of smaller painted studies to give me a greater understanding, before I start the final piece of artwork.

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Common Horse Chestnut Autumnal Leaf

This decaying leaf shows the richness of autumnal colours in their full splendour. The seeds of this tree are used for the game of conkers.

English Oak Leaf

This English Oak Leaf displays the richness of autumnal colours. It is perhaps one of our most iconic trees.

Japanese Maple Leaf

The Japanese Maple Leaf symbolises strength and endurance.

Horse Chestnut - Conker Shell

The open spikey green shell reveals the seed (conker) of the Horse Chestnut Tree.

End of Season

This painting brings together some of the decay and decline associated with autumn.