Botanica (Flowers) 2011

Editor: Here we have Barton Lidice Benes’ “Botanica (Flowers),” from 2011. It seems to be made from watercolor, paper, and perhaps some textiles? It has an almost scientific, yet very delicate, feeling to it. How do you interpret this work? Curator: This piece speaks to the complex relationship between humanity and the natural world. Benes, through his precise arrangement and meticulous rendering of each plant, is not merely creating botanical illustrations, but rather cataloging nature, controlling it. What does that evoke for you? Editor: Well, it feels very… archival. Like he’s making a record of something precious that might disappear. The plants almost feel like specimens in a display case. Curator: Precisely. Consider the history of botanical illustration, often tied to colonial exploration and exploitation of natural resources. How does this layering of artistic representation and power dynamics shift when considered within Benes' broader artistic practice, known for its engagement with consumerism and mortality? Editor: I guess the beauty masks a more critical stance. He’s pointing out how we try to organize and claim ownership over nature, turning it into objects. Do you think that this also brings issues such as climate change into the picture? Curator: Absolutely. Benes might be subtly highlighting the precarity of these natural elements in an era of ecological crisis. The act of preserving these images becomes a poignant reminder of what we risk losing, and also questions who gets to preserve and define what is 'nature'. Editor: So it's about challenging our perspective, and the politics of documenting the world. Curator: Indeed! Art allows us to reimagine our connection to both art history and our environment, one botanical illustration at a time. Editor: That's given me so much to think about. Thanks!