john.ingleton (at) lithographie.com.au 61 401 067 486

Flora Tasmanica

  • Archival ink and acrylic medium 50 x 25cm
    Richea acerosa - bare branched richea
  • Anopterus glandulosa - native laurel
    Anopterus glandulosa - native laurel
  • Bilardiera longiflora - purple appleberry
    Bilardiera longiflora - purple appleberry
  • Cenarrhenes nitida - port arthur plum
    Cenarrhenes nitida - port arthur plum
  • Dianella tasmanica - tasman flax lily
    Dianella tasmanica - tasman flax lily
  • Eucalypt pauciflora - snow gum
    Eucalypt pauciflora - snow gum
  • Archival pigment ink and acrylic medium 50 x 25cm
    Eucalyptus globulus - Tasmanian blue gum
  • Gentianella diemensis - ben lomond snow gentian
    Gentianella diemensis - ben lomond snow gentian
  • Acacia melanoxylon - tasmanian blackwood
    Acacia melanoxylon - tasmanian blackwood
  • Archival pigment ink and acrylic medium
25 x 50cm
    Nothofagus gunnii - southern beech
  • Phelabium squameum - satin wood
    Phelabium squameum - satin wood
  • Phyllocladus asplenifolius - celery top pine
    Phyllocladus asplenifolius - celery top pine

Flora tasmanica John Ingleton’s memories of working with pressed plants to make lampshades out of ferns as a youth may have predisposed him to follow up on the plant collecting which he stumbled across in his research into the early French explorations of Australia. A chance discovery of a discarded 1986 University of Tasmania collection of Tasmanian plants certainly provided impetus which lead to research at Kew gardens, London and the Jardin des Plantes, Paris.
In earlier work John has used the form of these plants to investigate the way in which we use plants to adapt our environment to suit us rather than us adapting to it. Other work used these forms to look at the built environment.
This collection again uses the form of these plants, not as botanical but as collected specimens. Collected specimens, which of necessity are pressed into shapes that in most cases resemble but do not replicate the true form of the plant – three dimensional flowers, leaves and stems are crushed into a two dimensional shape which makes the process of collecting and transporting possible. In the days of sail when this practice was at its peak specimens usually took months or even years to reach their destination in the botanical gardens of Europe.
John believes that these specimens have a beauty which is separate from the botanical illustration but still provides constructive glimpses of the original. Since all dried, pressed plants are brownish the colours he has chosen for his images do not necessarily represent the colours of the living plant but rather ones he associates with the forms themselves
All images: Archival pigment and acrylic medium 50 x 25cm
First exhibited Nolan Art Gallery, December 2015