Observations in Nature
Gertrude Hamilton
An Online Exhibition Series Exploring an Artist's Journey with Nature
Observations in Nature is a new online exhibition series based on my curiosity with how artists select subjects and the origins of thought and inspiration they bring to the drawing table. The goal is to uncover the layers of meaning behind the botanical portrait. Our journey through these questions enlightens us to the plethora of ideas behind the work and to derive a deeper appreciation for the artist and their art. You may click on each image below to view larger versions. Please visit the artist's page after the story for new, available work. Prices upon request.
What were the early influences and inspirations that drew you to botanical art? At what age did this discovery begin?
Gertrude Hamilton as a young child
There is a photograph of me as a young child, alone on a dirt road with a bunch of flowers I had just picked. For as long as I can remember flowers have had a strong pull on my psyche. So, it is no surprise that when I started painting, flowers became my point of focus. Over the years, I have had the privilege of studying the beautiful intricacies of flowers and have found that each possesses a unique personality, a certain aura; I want to get lost in them.
Does the country and place you live in influence your stylistic interpretation of botanical art?
Very much so I would say. I was born and raised in Ghent, Belgium, a charming Medieval city in the north of Belgium. The medieval atmosphere, illuminated manuscripts, and religious depictions very often enlightened by the secret language of flowers set me up for a work that is small, slow, precise, and requires a micro focus. I love to zoom into things.
Observing nature in such an intimate way is a religious experience. Is there a divine, cosmic intervention behind the creation of such intricate forms and colors? There lies the sacred art of geometry! Virginia Woolf exclaimed “I see it all, I feel it all. My eyes fill with tears.”
Other than the Flemish primitives and early Italian Renaissance painters, I was very much influenced by the whimsical combination pieces of Joris Hoefnagel and the light filled still-lives of Giovanna Garzoni.
Detail: click to see full image
Detail: click to see full image
As you are defined as a botanical artist, what does this mean to you? The categorizations of botanical art as scientific and illustrative force a different conversation, can you speak to contemporary botanical painting as fine art and how this shapes your work?
As a painter, I have shifted from trying to copy the obvious beauty of the botanical world to trying to capture its essence. Every flower is unique and exudes an individual personality. Plants are alive. They don't feel passive to me, they are sensitive and radiate emotions. I tend to tune into those vibrations and let them set the mood of the piece.
My work is therefore not a scientifically correct botanical study but rather a metaphysical observation. A contemporary approach is more suitable for this process.
What subjects do you return to again and again and why? Do you take risks when choosing subjects?
Some subjects definitely speak to me more than others. I don't know why. I go to the flower market or farmers market and see what is around. Sometimes I just stand there and stare until I feel something; pretty sure people must think I am slightly crazy. I recently also started playing with different techniques: pencil, oil, watercolor … it really all depends on the mood and environment I am in.
In general I would say I remain attracted to the natural world even though portraiture very much tempts me. I think that is because I like getting to the character of things.
I have to admit my weakness for pears, cherries, and poppies.
What do you want people to think, learn, or know from your work?
I am happy when people are in some way moved by the work. If through my work I can bring a moment of stillness, beauty, and harmony that is enough for me. Life can be hard at times; I like to offer an escape to a softer and happier place.
Describe a challenging subject you have conquered, lessons learned, and how it affects future projects.
Painting and creating can be a humbling experience. The images I have in my head require technique to execute. Sometimes that is hard and frustrating work but when it flows it is heaven and you just want more and more. One has to plow through those dry spells and never give up. I want to keep growing and be true to whatever creativity flows out of me.