June 2021 dates for your diary

This month I have two exciting dates for your dairy! 

Firstly, I’m delighted to be exhibiting my beeswax botanical sculptures in Inspirit presented by Ruup & Form at the brand new Artefact contemporary craft fair, launching at Design Centre, Chelsea Harbour, London from 22-29th June 2021.

Artefact is a new physical fair which brings together several galleries working closely within the realm of high end craft and applied art. You can find more information about the exhibiting galleries, talks programme, artisan demonstrations and bookings on the Design Centre website. All events are free to attend and it looks to be an incredible show.  

Secondly, if you tune in to Countryfile on BBC1 this Sunday 20th June at 7pm, you’ll see presenter Ellie Harrison and I making wildflowers from beeswax in my garden studio. We also visit the museum and my local nature reserve and chat about my natural history artwork.

The film was originally aired back in 2019 but it is being reshown in a special Art in the Countryside episode, featuring a selection of artists from the Countryfile archive, who are inspired by the natural world.

It was a very special day and I’m looking forward to seeing the film again. I hope you enjoy it too.   

Meditation in Material with Ruup & Form at Collect 2021

From 26th February – 2nd March 2021, my new Life Support series of beeswax wildflower sculptures will be shown by Ruup & form in Meditation in Material at Crafts Council Collect 2021 Art Fair

As the pandemic is currently preventing everyone from coming together, this year the Collect International Art Fair for Contemporary Craft and Design will take place online, with Artsy.net as the exclusive hosts. Each exhibiting gallery will have their own online ‘booth’ to display their artists’ work for sale, and there will be a week of accompanying talks and events alongside interviews and films.

Life Support, May 2020: Dog violet, Viola riviniana. Image by Dewi Tannant Lloyd

The Life Support series of work, which will be seen for the first time at the fair, was created throughout 2020 in response to the ongoing Covid-19 pandemic. The series of beeswax wildflower sculptures tell a deeply personal story of this moment in history. Each one is displayed in its own protective hand-blown glass bubble and mounted on a custom CNC lathed stainless steel base. They encapsulate my thoughts and feelings and illustrate the importance of our access to nature through gardens, parklands and green city centre spaces at this time of crisis.  

Over the past few weeks, I’ve been collecting my research photographs and images of the making process, and organising them into a video sequence to illustrate how the project evolved over time. Here is a preview clip from the finished video showing the making of a primrose flower.

A short clip from the Life Support series video

The full version will be available to view in accompaniment to the artwork on display at the Collect 2021 fair. It looks to be a wonderful online event and I hope you will be able to join us there from the comfort and safety of your own homes.

Collect Open 2020 a few days to go…

With only a few days to go until the Crafts Council Collect 2020 International Art Fair for Modern Craft and Design at Somerset House, my Collect Open beeswax wildflower installation is now complete and I’m able to share a little more information about the project and the finished artwork.

My Collect Open project has been made using traditional wax modelling techniques from honey bee wax provided by Assistant Professor Scott McArt, at the College of Agriculture and Life Sciences, Cornell University, New York.

The wax that I’ve used for sculpting was collected by Scott from around 10 different honey bee colonies in central New York, some at the Dyce Lab for Honey Bee Studies and some from hobby beekeepers near the University. One sample was also taken from a commercial beekeeper who’s bees had just been used for commercial blueberry pollination in New Jersey. The beekeeper noticed that his bees were not doing well after pollinating the blueberries, so he sent wax, pollen, and dead honey bee pupae from his colonies to the lab for analysis.

The results of the analysis, conducted at the Cornell Chemical Ecology Core Facility, show an extensive list of pesticide residues in the wax samples. There is also a marked difference between the number of pesticides found in the wax samples taken from the hives used for commercial pollination services and those from hobby beekeepers.

You can view the full list of results here:

As my wildflower sculptures contain physical traces of these pesticide residues, I will be listing them clearly as the artist’s materials used to create my installation. (It is interesting to note that if Scott had sent me different wax samples from honey bees used for commercial almond pollination in California, my list of artist’s materials would have doubled in size.)

Beeswax has traditionally been used in the creation of scientific models for education and botanical sculpture became particularly popular during the advent of the public museum in the 19th century. Artists were able to use the life like quality and translucency of the medium to create realistic and beautiful representations of plants for gallery displays, in order to engage visitors with scientific discovery.

Here are just a few of the historic beeswax plant sculptures from the scientific collections at National Museum Wales.

My work for Collect Open 2020 continues this tradition, aiming to raise awareness of the widespread use of agricultural chemicals and the transfer of these chemicals from agricultural crops to wildflowers and pollinators, promoting discussion on the man-made issues which have contributed to the global decline of pollinating insects.

My installation of beeswax wildflower sculptures will be presented in a custom made jewellery box with the title Treasure. This can be interpreted in several different ways; as a noun meaning a collection of very valuable things, or a verb meaning to take great care of something because you love it or consider it very valuable. It also refers to a wealth which is hidden or buried, giving the viewer a hint to the value of the scientific information hidden in the beeswax samples.

Treasure poses the questions, what should we collect, protect and keep safe? What precious things will be of the greatest importance and value as we begin to understand the scale of change in this era of the Anthropocene?

Dr Sott McArt and his bees

For questions about the pesticide residue analysis on the honey bee wax samples or the research and extension activities at the McArt lab, you can contact Dr. Scott McArt directly by email shm33@cornell.edu or via Twitter @MaArtLab.

Collect Open 2020 one month to go…

I’ve spent the last few months working solidly on my beeswax wildflower installation for Collect Open and the piece is really taking shape, so with one month to go until the fair, I thought it was a good time to share a little more of the making process.

For the installation I’ll be arranging my sculptures in compartments and drawers within a transparent jewellery box. The first stage was to design and make a cardboard mock-up of the box to see how the sculptures might fit in each space.

When I was happy with the design, it was drawn up in a 3D sketch and then manufactured in clear acrylic.

I knew that it would be a challenge to make the sculptures over the winter months when very few plants were in flower. Therefore, I began collecting, documenting and pressing flowers in late summer and autumn to give myself as much reference material as possible for the duration of my project.

Over the winter when I couldn’t access fresh material, I was able to visit and photograph the pressed plants in the herbarium at National Museum Wales and I also used my ever growing collection of botanical books for reference.

 

The wildflower sculptures in my Collect Open installation are made from beeswax supplied by Assistant Professor Dr Scott McArt at Cornell University, New York. Samples were collected by Scott from the bee hives at the Dyce Lab for Honey Bee Research and then analysed by David Sossa (technician) and Nico Baert (lead chemist) in the chemistry facility.

 

The beeswax was then shipped to my studio in Wales, where I melted it down ready for sculpting.

Once I had prepared the wax, I began the delicate work of sculpting the wildflowers, using traditional techniques to make stems, petals, sepals and leaves from waxed wire, silk and paper. 

Here are just a few of the finished beeswax wildflower sculptures which will be displayed together in the acrylic jewellery box.

I’ll be posting a sneak preview of the finished piece in a few weeks time but if you’d like to see my Collect Open installation in person, it will be on display from 27th February – 1st March in the East Wing of Somerset House on stand E6. If you’re visiting the fair please do drop by and say hello! Tickets are available to purchase from the Crafts Council website.