‘Pomegranate’ by Anita Barley. Photo – supplied. Production – Danielle White/The Countryphiles.
‘Crab’ by Anita Barley. Photo – supplied. Production – Danielle White/The Countryphiles.
‘Erythrina Acanthocarpa’ by Anita Barley. Photo – supplied. Production – Danielle White/The Countryphiles.
Gentle lustrous light fills Anita’s studio. Photo/Production – Danielle White/The Countryphiles.
A host of beautiful natural objects adorn Anita’s studio. Photo/Production – Danielle White/The Countryphiles.
Anita Barley, Botanic Artist, in her studio, which looks out upon a whimsical garden. Photo/Production – Danielle White/The Countryphiles.
Entering Anita Barley’s studio feels a bit like entering a small Wunderkammer museum. A glorious jumble of rare and curious specimens jostle for position in the natural light-filled conservatory. Dried seed pods, birds’ nests, speckled eggs and exotic feathers sit atop dark-wooded antique cabinets. Elsewhere, paint brushes in rough-hewn clay pots keep company with delicate hand-carved collectibles. It’s clear that even the tiniest of Nature’s creatures and creations are appreciated by this artist’s curious and caring eye.
Anita is one of Australia’s foremost botanic artists. Her finely-observed and painstakingly detailed works adorn the pages of highly-regarded tomes such as Flora of Victoria and Flora of Australia while numerous of her illustrations feature in other significant taxonomic and botanic publications – so, YES, The Countryphiles was very LUCKY indeed to be able to chat with Anita in her private studio!
What is Botanic Art exactly?
“In its purest form, botanic art is highly-detailed, diagrammatic illustrations from which a plant can be identified as a species in the service of science,” says Anita. “Works are clean, honest, clear and entire and demonstrate a fineness of technique. Most notably, unlike other art forms, there is an absence of the artist’s interpretation, creativity or impression; almost an absence of the artist altogether. You have to be true to the plant and portray it with precision to complement its taxonomic description. Plates are typically line drawings or water colours and show the face and reverse of the plants’ leaves, flowers, buds, seeds and root system. They may also include microscopic details such as the plant’s reproductive structures and other features relevant to its identification.”
Such magnificent beauty and accurate detail blossoms from such a seemingly humble palette of colours. Photo/Production – Danielle White/The Countryphiles.
Anita uses a magnifying glass – such is the fineness of the detail she captures. Photo/Production – Danielle White/The Countryphiles.
A crisp white window pane above Anita’s desk frames a verdant, rambling garden and invites beams of dappled sunlight to rest softly on her work-in-progress. As I’m peering over her shoulder, she executes each stroke so delicately, so intricately, yet so swiftly and with such confidence it’s AMAZING to watch. Anita explains that the brushes she uses are the same as those designed for Queen Elizabeth I! GET OUTTA HERE! It’s heartening to know that technology leaves some time-honoured things untouched. “The tools of the trade haven’t altered much at all; we still primarily use the same pigments, papers, pencils, brushes, microscopes and magnifying glasses as they did hundreds of years ago. It’s an olde-worlde art form that has really come into its own in modern times,” explains Anita.
Anita Barley. Photo/Production – Danielle White/The Countryphiles.
Botanic illustration needs great artistic skill, attention to fine detail, technical botanical knowledge and a quality some people (read: YOURS TRULY) find hard to acquire: PATIENCE.
Some subjects, such as New South Wales Waratahs (Telopea speciosissima), take Anita months to complete. “I love Waratahs,” she says smiling broadly. “They may take me five or six months to illustrate but being fettered to your subject is very much a part of the experience.” Other subjects, such as Wisteria (Wisteria floribunda), which Anita is currently working on, compel her to wait until they bloom again the following year before she completes them. “When I paint Wisteria I prefer the plant to be freshly in bloom and hanging on its vine; it has the most divine smell and I can’t help but feel happy—it’s worth every moment I have to wait.”
Do you ever illustrate from photos?
“Absolutely not!” (in hindsight a poor question, but Anita’s passionate answer made asking it worthwhile). “I need to move around my subject in 3D; to build a relationship with it, if you like, in its entirety. The process, for me anyway, involves more than just sight; it involves smell, texture, depth and intangibles like carriage and aura. With delicate subjects, I sometimes put bits and pieces in the fridge so they last a bit longer or alternatively I work from dried specimens—but I never paint from photos, no.” And why would she with such a STUNNING garden surrounding her studio!
The garden view from Anita’s studio. Photo/Production – Danielle White/The Countryphiles.
Verdant visions at every turn. Photo/Production – Danielle White/The Countryphiles.
After completing a graphic design course at RMIT in 1977, Anita was appointed as botanic artist of the National Herbarium of Victoria at the Royal Botanic Gardens in Melbourne. It was her job to illustrate Flora of Victoria. “I was lucky to get the job at the gardens. They hadn’t had a resident artist for ninety years or so,” she says. For the next 16 years Anita produced hundreds of illustrations. “I completed 16 years of a 25-year project. I guess I wore out because I was more or less locked away in isolation; botanic art wasn’t as popular then as it is now. It was much more aligned with science than aesthetics.”
The beautiful and extraordinarily talented Anita Barley. Photo/Production – Danielle White/The Countryphiles.
Originally born of the scientifically-accurate recordings of botanists and taxonomists, botanic illustration was once primarily a male activity. Anita mentions the likes of Pierre-Joseph Redouté, a Belgian painter and botanist appointed the official court artist of Queen Marie Antoinette and known for his watercolours of roses, lilies and other flowers at Château de Malmaison. But joyfully, times have changed. “Australia has several exceptionally talented pioneering female botanic artists,” says Anita. “Ellis Rowan, Margaret Stones, Celia Rosser, and former Kyneton resident Jenny Phillips who established the Botanical Art School of Melbourne in South Yarra in 1992 have been great influences on the recognition of the art form.”
Anita neglects to mention she has been twice awarded the prestige Celia Rosser Medal (2002, 2006) in recognition of the exceptional quality of her own artwork and contributions to the field of botanical illustrations.
In the past twenty years or so, there has been “an explosion of interest in botanic art” and a boom in courses that provide chances to learn the art form for “everyone from beginners and hobbyists to professionals.” Since moving to live in Woodend about twenty years ago with husband Richard Barley, CEO of Open Gardens Australia, Anita has taught and inspired many people.
‘Pineapple’ by Anita Barley. The picture hangs in the artist’s studio. Photo/Production – Danielle White/The Countryphiles.
‘Pineapple’ by Anita Barley. Good enough to EAT! Photo/Production – Danielle White/The Countryphiles.
Because each work takes considerable time to complete, Anita often associates a certain smell, music score, or event with her artworks. Anita happened to be painting a study of daffodils when her brother died: “It was a very difficult time for me,” she reflects pausing to rest her magnifying glass. “My art became a kind of meditative restorative therapy; I guess because when I paint I have to concentrate so much that it forces me to shed any thoughts I might otherwise have about myself. Being this close to Nature is humbling and soul-restoring.”
Anita’s work is held in the State Botanical Collection as well as in private collections around Australia and internationally. Most recently Anita’s work has been exhibited in Sydney and locally at Woodbine Gallery in Malmsbury.
Tell us a little bit about your background – what path led you to becoming a botanic artist?
I studied Art & Design at RMIT and was introduced to natural history illustration during that course. One thing led to another and instead of joining my peers designing annual reports or corporate images, I found myself at the Royal Botanic Gardens Melbourne, in the National Herbarium, as their first botanical illustrator appointment since 1927! I didn’t realise at that time that I started on this path as a child fascinated by the representation of nature in herbals or in the work of artists such as the Pre-Raphaelites.
Can you give us a little insight into your creative process? How do you approach your subject matter? How would you describe your general creative aesthetic?
In my life at RBG I was rarely able to choose my subjects and had to work closely with scientists. In the 20 years since leaving there, I have found myself drawn to plant subjects from all over the globe, and have been inspired to include other creatures or objects in my work. If there is an aspect of my work that I wish to explore or improve upon, I will choose a subject that will allow me to develop those skills. Otherwise most choices are made on a whim or emotional connection.
What are your influences? Where or who do you draw your inspiration from?
I approach my subjects as I would a human portrait. I want to capture some of the plant’s character and its inner and outer life. I also like to stimulate the viewer’s imagination or create a narrative and I am exploring this more in my most recent pieces. I would like the viewer to really pause and to LOOK at the subject closely (even using a magnifying glass). As well as drawing their attention to the detail and some of the physical beauty of the subject, I would like to create the opportunity for a break and period of contemplation in the viewer’s daily life.
You have a studio in Woodend. What path led you to move to the country?
We moved to be more in touch with the natural world than is possible in the city, also to enjoy a cleaner lifestyle – food, air, and for me a more mentally healthy environment.
Do you consider yourself to be a ‘Countryphile’? Do you love country life? Why?
I do consider myself a countryphile. In that, this is as much a matter of character and perspective as it is location. Even in a city environment I am somewhat a recluse, not really enjoying the throng of human noise and bustle. I look for elements in the natural world wherever I am and seek to lead a fairly contemplative life. I find that it is easier to do that in the country and it is a more natural fit with my personality and allows me to pursue my interests with more vigour and inspiration.
What is a typical day in work life like; from when you wake to when you go to sleep?
I do not have a typical work day as I work for myself at home and have a great deal of flexibility. I don’t have a weekend as such. If something has interrupted my working week I will make up the time in the evenings of Saturday or Sunday. Sometimes it is necessary to work almost continuously as my plant subject may have a limited life span, and this painting frenzy may mean that I need to take a break to allow my eyes to recover from the concentration and focus!
What aspect of country life are you loving MOST at the moment?
I am loving autumn. I think that our region and our own garden both look amazing at this time of year. While I often used to think of autumn as the ‘messy season’ in Melbourne, here I embrace the relaxed disarray. The rich colours of foliage, fruits and berries have inspired many of my works.
What is the most CHALLENGING aspect of country life?
The trains are challenging! I don’t enjoy driving in the city, and find the limits of public transport the most restrictive aspect of life, if one needs to travel.
Do you prefer Coffee or Tea? Your favourite country café and why?
I am a tea drinker – made in the pot with leaves, of course.
I rarely find good tea in cafes, though, so will be tempted by coffee as an indulgence when I head out. My favourite haunts in Woodend are Café Colenso and Maloa House Gourmet Delights, they are both a reasonable walk from home.
What and where was the last great meal you enjoyed/shared in the country?
There is nothing more comforting that a fresh-from-the-oven massive chocolate chip biscuit at Colenso. I particularly enjoy their innovative fresh menus. My daughter maintains that their stinging nettle risotto, eaten before her VCE Literature exam, was the key to her success!
Where would we find you on a typical Saturday morning?
There is no typical Saturday morning. It could be walking to the newsagent, shopping for dinner at home with friends, visiting an open garden or even taking the train for a day out in Melbourne!
YOUR country town’s best kept secret?
The extraordinary range of stories and skills that the individuals in our area have to share, and the sense of community that binds them.
Would you ENCOURAGE others to live a country life? Why/why not?
I would encourage everyone to live a little of the country life even if they are in an urban area! That means to slow down, enjoy the aspects of the natural world that are around you (be it a sunrise, or a weed in the crack in the footpath), and spare the time to talk to one another. Nothing is that urgent.
What ADVICE would you give those dreaming of making a TREE CHANGE?
Don’t dream – just do it! What is the worst that can happen? You might find out that it doesn’t suit you, but at least you have had an adventure, probably made at least one good friend, and seen how magnificent the stars look at night when they aren’t competing with the city’s glow.
What can we expect NEXT from you/your art in the future?
I am exploring the more diverse forms of nature and storytelling into my art.
What are you looking FORWARD to and why?
Ironically, given these interview questions, I am looking forward to my next adventure away from my beloved home town of the last 22 years. We are moving to England where we will be working and living at the Royal Botanic Gardens, Kew (my husband Richard has been appointed as the Director of Horticulture).
What would be your dream project?
Each work that I produce is my dream project.
Can you list for us 5 specific things you turn to/do when you need of a ‘dose’ of city life?
My dose would include:
· Seeing a film
· Going to the Athenaeum Library in Collins Street to borrow some fantastic biographies.
· Visiting the National Gallery
· A touch of shopping and a bit of eating (I love Bistrot d’Orsay in Collins Street, next to the Athenaeum…)
· Seeing some live theatre.
That should do it. Administer once every now and then!
Anita Barley
