Impressions of “Flora Japonica” at the Royal Botanic Gardens, Kew, London

by Asuka Hishiki, posted by Deb Shaw

Flora Japonica opened mid-September, 2016 at the Royal Botanic Gardens, Kew, in London. Before the opening, I personally felt very overwhelmed and was worried about how we would be received. It turned out GREAT! The people at the Kew were so nice and friendly. When Dr. Shirley Sherwood congratulated us at the opening speech, I felt so honored to be a part of the celebrated show.

There is so much to tell about the exhibition. There are, however, so many good writings about the show already available. Instead of summarizing those good reads, I thought I would make a list of the links for you to visit. Meanwhile, I would love to share my thoughts on several specific artworks. This are just my opinions and maybe rather boring ones at that, but I hope you enjoy walking with me through the show.

I have mentioned that these are just my opinions. Keep in mind, my bold statement is this: I think that most Japanese endemic plants are rather unflattering. Meaning that they are not obviously gorgeous like roses, tulips or tropical plants. Maybe this is the case not only with Japanese native plants; perhaps many endemic plants appear very humble looking. Well, really? It could be because these plants are not looked at properly.

Idesia polycarpa, watercolor on paper, © 2016, Akiko Enokido.

Take a look at the watercolor Idesia polycarpa by Akiko Enokido. I think the actual plant (not her painting!) is very modest looking. Its male and female flowers are especially small and plain. However, if you look at it up-close as Akiko did, it is obvious that the flower clusters are very gorgeous! Akiko successfully converted the modest look of the plant into a dynamic figure using her vivid and strong color. The beauty is sometimes there in front of us, but it doesn’t reveal itself until we open our eyes properly. I think as artists we have the wonderful power to help open the secret door, clearing the smoke that hides nature’s beauty.

Speaking of color, I thought many of the artists’ subjects held a very clean but pastel color. I wondered how they achieved their shades. On first look, I thought perhaps the artwork was done in color pencil, but no, it was watercolor. In some parts, I saw tiny, tiny brush strokes. Instead of washing those stitches out, the artists kept them, floating them onto white paper, like a Georges Seurat painting. I couldn’t get an answer about this technique from my fellow artists, so I will tell you when I find out.

Magnolia obovata, watercolor on paper, © 2016, Mieko Konishi.