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by Nina Antze, posted by Deb Shaw

The Northern California Society of Botanical Artists (NCalSBA) is sponsoring a workshop on Egg Tempera Techniques for Botanical Painting with Carrie Di Costanzo.
Friday, July 24 – Sunday 26, 2020
9:00 am – 3:00 pm
Woodhall
501 Orindawoods
Orinda, California

Cost for 3 day workshop:
$325, NCalSBA member
$350, non member
Included in cost: 3 x 5 inch and 8 x 10 inch panels and paint pigments

Class limit: 16
Sign up by clicking here. It is anticipated that this workshop will fill quickly. Sorry, NCalSBA is unable to refund cancellations unless a waitlisted person is able to take your place.

“Iris II”  Egg Tempera on Panel  17” x 13”, Carrie Di Costanzo, © 2019, all rights reserved.

“Iris II” Egg Tempera on Panel 17” x 13”, Carrie Di Costanzo, © 2019, all rights reserved.

Learn to capture the luminosity of Egg Tempera technique with Carrie Di Costanzo. Egg Tempera is a centuries old painting medium that can be used to render the highly detailed subjects of botanical painting while also effectively creating a radiant and ethereal quality. This workshop will introduce the materials and techniques used to create botanical paintings with egg tempera.

About the instructor:

Carrie Di Costanzo earned her Bachelor of Fine Arts from the Fashion Institute of Technology in New York. After graduating, she worked as a fashion illustrator before shifting her focus to botanical art in 2008. Carrie has exhibited extensively with the American Society of Botanical Artists and other group exhibitions throughout the US. Her work is held in the Botanical Collections at the Huntington Library, Art Collections, and Botanical Gardens, The Hunt Institute for Botanical Documentation, and private collections.

Questions? Contact Susan Mark-Raymond if you have questions or to be placed on a waitlist.

by Deb Shaw

The Theodore Payne Foundation for Wild Flowers & Native Plants is currently exhibiting works by Donnett Vanek: “California Wildflowers and Pollinators,” January 18 through April 25, 2020.

Donnett’s exhibition is in the Theodore Payne Gallery at the Theodore Payne Foundation for Wild Flowers & Native Plants
10459 Tuxford Street
Sun Valley, CA
91352
818-768-1802

This is Donnett’s story about the exhibition and her work:

by Donnett Vanek, posted by Deb Shaw

Donnett Vanek, © 2020, all rights reserved: California Thistle Sage; dry brush watercolor  Painted Lady & San Joaquin Milkvetch; dry brush watercolor  Dried Jimsonweed seed pod; graphite

Donnett Vanek, © 2020, all rights reserved. Clockwise from left: California Thistle Sage, dry brush watercolor; Painted Lady & San Joaquin Milkvetch, dry brush watercolor; Dried Jimsonweed seed pod, graphite

Each year the Theodore Payne Arts Council invites three artists whose work reflects the mission of the foundation—to promote and educate the public on California wildflowers and plants. This is a wonderful opportunity for local California artists and is offered every year through the Theodore Payne Foundation for Wild Flowers & Native Plants (TPF) Arts Program. Information about submissions and the call for art is on the Theodore Payne website Arts Program page.

In fall of 2018, I was invited to have a solo show of my work in January 2020 at Theodore Payne. I chose California Wildflowers & Pollinators as my theme.

The exhibition invitation started me on a year-long journey into a subject I was already interested in. With my camera in hand and my husband accompanying me, I started looking for plants I would like to learn more about and that, through my art, would interest people in the native ecology of California. We went to Carrizo National Plains, hiking in Los Padres National Forest, Wind Wolves Preserve, and the Poppy Preserve in Antelope Valley in search of plants and pollinators. I take my camera when researching native plants in the field, because places like the Carrizo Plains National Monument doesn’t appreciate it when you cut native flowers! So, I take my camera and take many photos from all angles. I then go back and research the plants and insects that I have found and use the photos for reference when rendering the art.

One of the most interesting plants I came across in the Carrizo National Plains was the California Thistle Sage, Salvia carduacea. Although it is called a sage, all sages are actually in the mint family. This plant grew in a huge meadow, alongside San Joaquin Milkvetch, Astragalus asymmetricus. Fluttering between the two plants were Painted Lady butterflies and large red beetles, which I later learned were Little Bear Scarabs, Paracotalpa ursina. These would be the first plants and insects I decided to render for my show. I went on to have a total of 12 artworks of native plants and pollinators. I not only included plants I thought would be unusual to the general public, but also chose to do a rendering of a dandelion, specifically the Spearleaf Mountain Dandelion, which grows in my yard. Like all dandelions, it is an important source of food for all bees and other pollinators. I worked on these pieces throughout 2019. My show at the Theodore Payne Gallery is a reflection of my year long research and rendering of California Wildflowers and Pollinators.

My work is rendered in Dry Brush Water Color, Graphite and Block Print.

Here is my (short) Artist’s Statement;

Donnett Vanek: California Wildflowers and Pollinators

I think of my renderings of California wildflowers and pollinators as portraits. My art is a way to put down on paper what I have observed and depict the never-ending and intriguing variations of color, shape, texture, and size of plants and insects in the natural world. When I observe these plants in their native habitat I’m interested in where they grow, how they grow, how large they grow and the unique relationships they have with pollinators. Through my work, I hope to encourage people to consider the important role that native plants play in the ecology of our California landscape. Look more closely before pulling what you consider to be a weed. It might be the humble Spearleaf Mountain Dandelion. While at first glance, a dandelion may not seem as intriguing as the brightly colored and thorny Thistle Sage, it’s no less important to pollinators and the world of native plants. Go out and enjoy nature, look closely, look down; you just might be stepping on a tiny beautiful flower that you have never seen before.

Click here to see a YouTube video of Donnett’s talk at the opening. (NOTE: It was taken with a phone, and so sometimes is sideways!)

by Deb Shaw

Akiko Enokido has her first solo botanical art exhibition at the Beijing Botanical Garden, China.

Her 35 original artworks on display were painted from 2005 to 2019, the majority painted in California, Hawaii and Japan.

The exhibition is currently on view at the Beijing Botanical Garden until March 15, 2020.

Images of the exhibition can be viewed here.

 

posted by Deb Shaw

In anticipation of the opening of The Chinese and Japanese Gardens at The Huntington Library, Art Museum, and Botanical Gardens, this 2020 group show by the Botanical Artists Guild of Southern California (BAGSC) focuses on the plants of Asia.

The exhibition can be viewed at the Brody Botanical Center during regular visitor hours, from January 15 – May 6, 2020.

BAGSC artists in the exhibition include: Natalia Alatortseva, Stephanie Buehler, Akiko Enokido, Janice Hoiberg, Laurel Tucker Krishock, Susan Mark-Raymond, Terri Munroe, Lang Anh Pham, Mitsuko Schultz, Beth Stone, and Jin Wang.

BAGSC artworks in the Brody Botanical Center at The Huntington Library, Art Museum, and Botanical Gardens.

BAGSC artworks in the Brody Botanical Center at The Huntington Library, Art Museum, and Botanical Gardens.

BAGSC artworks in the Brody Botanical Center at The Huntington Library, Art Museum, and Botanical Gardens.

BAGSC artworks in the Brody Botanical Center at The Huntington Library, Art Museum, and Botanical Gardens.

by Deb Shaw

Adrian Higgins, a columnist with The Washington Post wrote a wonderful article yesterday, January 29, 2020 about Alice Tangerini and botanical art. Entitled Botanical illustration is becoming endangered, but the job is essential, the article covers Alice’s important work, and also interviews Bobbi Angell.

See the article and images here.

by Janet Parker, posted by Deb Shaw

Heeyoung Kim Pen & Ink Workshop

Acclaimed botanical artist and instructor, Heeyoung Kim, will give a 3-day workshop in Portland, Oregon this spring in pen-and-ink:
Thursday-through-Saturday
April 16 thru 18

Heeyoung is the 2012 recipient of the ASBA’s highest honor, The Diane Bouchier Award for Excellence in Botanical Art. She’s also a skilled and patient teacher.

The workshop will be held at the Oregon Society of Artists.
For more information and to register, please visit the workshop page for the Oregon Society of Artists website.

To learn more about Heeyoung and her work, here’s a link to her website.

Questions? Contact Janet Parker.

The Oregon Society of Artists is located at:
2185 S.W. Park Place, Portland, Oregon 97205, 503-228-0706

The BAGSC Botanical Day of Art is almost here, and the website has been updated with more information. There are still a few spots available for:
Sunday, January 26, 2020
9:00 am to 4:00 pm

Los Angeles County Arboretum and Botanic Garden
301 N Baldwin Ave, Arcadia, CA 91007

Cost, BAGSC Members: $50
Non-Members: $60

Be sure to visit the BAGSC website at https://bagsc.org/classes/bagsc-botanical-art-workshop-2020 to review updated information, including:

  • A full schedule of the day;
  • Instructors and subjects for each of the four sessions;
  • Supplies provided;
  • Supplies for sharing;
  • AND the BAGSC Mercado!

Last year we sold extras from the art supplies purchased for the Day of Art, and participants were clamoring for more. We have just added a BAGSC “Mercado” to the day: in addition to the workshop sessions, BAGSC will be selling extra art supplies purchased for the “Day of Art” as well as gently-used art supplies in our very own Art Supply Mercado.

Please bring cash or check; credit cards will not be accepted for the Art Supply Mercado.

Registration is online and easy. Hope to see you there!

by Deb Shaw

Back by popular demand! Last year’s BAGSC BOTANICAL ART WORKSHOP was such a great success, we’ve created a new one! Start a creative 2020 with:

BASIC BOTANICAL ART WORKSHOP
A Day of Botanical Art Skills & Techniques for All Levels

Sunday, January 26, 2020
9am to 4pm
Los Angeles County Arboretum & Botanic Garden
301 N. Baldwin Ave., Arcadia, CA 91007

Participants may choose from a variety hands-on sessions taught by skilled BAGSC teachers in a new, longer, 80-minute format! Choose which sessions you want to attend the day of the event.

  • Color Mixing and Pigments
  • Colored Pencil and Watercolor Pencil
  • Drawing Leaves and Flowers
  • Dry Brush Technique
  • Fixing Fiddly Bits with Masking Fluid
  • Graphite (Pencil) Techniques
  • Nature Journaling
  • Pen & Ink
  • Pen, Watercolor & Colored Pencil
  • Silverpoint
  • Watercolor
  • AND MORE!

BAGSC Artists include:

  • Cristina Baltayian
  • Sally Jacobs
  • Kathlyn Powell
  • Lesley Randall
  • Olga Ryabtsova
  • Mitsuko Schultz
  • Gilly Shaeffer
  • Deborah Shaw

$50 BAGSC Members ~ $60 Non-Members 

Register online at
https://bagsc.org/classes/bagsc-botanical-art-workshop-2020

No refunds after January 17, 2020.

BAGSC Basic Botanical Art, photo © Deborah Shaw.

All basic supplies are included in the registration cost. Beginners can try new techniques while others can brush up their skills and try out new materials.

Please register early. Spaces are limited, and this workshop is open to the public. Registrations are expected to fill quickly.

Questions? Contact BAGSC’s education chair at the link on the online registration page above.

by Janice Hoiberg

The American Society of Botanical Artists (ASBA) is celebrating their 25th anniversary this year. The celebration is being commemorated with a “Special Exhibition,” a catalog of member’s artwork to be published in October 2019, based on the theme “Celebrating Silver.” Each original features a plant with ‘silver’ in the common or scientific name, or is a plant that has a ‘silvery’ element or appearance. The catalog also will document ASBA’s history, and include articles about its pioneers.

One wall of "Celebrating Silver."

One wall of “Celebrating Silver.” Photo by Janice Hoiberg.

Some of the original artworks created by BAGSC members as part of “Celebrating Silver” is now on display in the Brody Botanical Center at The Huntington Library, Art Collections and Botanical Gardens. The exhibition opened on July 10 and will run until September 4, 2019.

Participating BAGSC artists in The Huntington exhibition include: Nina Antze, Nancy Beckham, Melanie Campbell-Carter, Jan Clouse, Diane Nelson Daly, Yulia Feldman, Janice Hoiberg, Sue Jackson, Mary Jansen, Laurel Tucker Krishock, Patricia A. Mark, Arillyn Moran-Lawrence, Kathy I. Morgan, Terri Munroe, Marilyn Parrino, Kathlyn Powell, Patricia Savage, Gilly Shaeffer, Beth Stone, and Leslie Walker.

"Celebrating Silver."

Additional artwork in “Celebrating Silver.” Photo by Janice Hoiberg.

Once the exhibition closes at The Huntington, it will then move to Mt. San Antonio Gardens in Pomona, California, where it will be displayed from October 1 to November 26, 2019. An opening reception will be held at the Mt. San Antonio Gardens’ gallery on October 3, 2019. Everyone is invited!

 

by Marilyn Parrino, posted by Deb Shaw

Sierra Madre will host their 57th Annual Art in the Park this Saturday, May 4th and Sunday, May 5th. Join one hundred juried artists who will be displaying an array of Fine Art and Fine Craft in:
Sierra Madre’s Memorial Park
222 W. Sierra Madre Blvd.
Sierra Madre, California
9:30 am to 5:00 pm

Admission is free, and each day features a food court; live music on stage at the band shell and on the southeast lawn of the park, and a silent auction!

Be sure to visit the booth “Beautiful Botanicals,” featuring the artwork of BAGSC members Marilyn Parrino, Nancy Beckham, and Robyn Reilman.

All Proceeds from the Art Fair benefit the Sierra Madre Public Library. For more information please call the Library at 626-355-7186.

Sierra Madre Art in the Park

Sierra Madre Art in the Park

by Deb Shaw

California Current, colored pencil by Nina Antze, © 2018.

California Current, colored pencil by Nina Antze, © 2018.

There are still a few seats left! Nina Antze will be teaching her color pencil technique in a two-day workshop at the Madrona Marsh Preserve in Torrance in February:

Non-Native Invasive Plants of the Madrona Marsh
Workshop in Color Pencil with Nina Antze
February 7-8, 2019

Madrona Marsh Preserve Nature Center
3201 Plaza del Amo
Torrance, CA 90505


$200 for BAGSC members, $250 for non-members

Learn about the non-native invasive plants at the Madrona Marsh Preserve in Torrance, California. Participants will tour the nature preserve and select an invasive plant to use as their specimen. Participants can remove as many specimens from the preserve as they would like!

Additionally, BAGSC members are invited to submit works for the exhibition “Non-Native Invasive Plants of the Madrona Marsh” to be held in the summer of 2019, opening June 1 and running until August. Nina’s workshop is a great opportunity to get your artwork started for submission to this important exhibition.
Exhibit submission deadline: May 15, 2019
Questions about the exhibition? Contact Olga Ryabtsova, BAGSC Exhibition Chair.

To see more details and to register for Nina’s workshop: go to BAGSC’s website at https://bagsc.org/ click on “Classes” and then on “Class details” under the workshop name, OR go directly to https://bagsc.org/index.php/classes/nina-antze-2019.

[Editor’s note: Botanical artists have a long tradition of displaying their art where it can make a difference to the those who view it. Recent examples include art exhibitions in botanical gardens, of native plants around the world, and of vanishing species. Botanical artists also have been creative in finding other venues to display botanical art and reach a wider audience. This is hopefully the first in a series of posts about such efforts in a new category entitled “Botanical Art Out and About.” Do you have a story to share? If so, please email our blog editor.]

by Jan Clouse, posted by Deb Shaw

"Cat & Bird," Quercus agrifolia (Coast Live Oak). Graphite and colored pencil on paper by Jan Clouse, © 2018.

“Cat & Bird,” Quercus agrifolia (Coast Live Oak). Graphite and colored pencil on paper by Jan Clouse, © 2018. Website at: janclousebotanicals.com

I was a volunteer in the Salud Carbajal for Congress campaign of 2016 to represent the California 24th congressional district, encompassing Santa Barbara County, San Luis Obispo County and the Los Padres National Forest in Ventura County. Salud repeatedly urged my husband and me to come visit him in Washington D.C. if he got elected. I decided that, although I might not be visiting the Congressman in Washington, I could loan him a couple of my paintings. One I selected was a painting of a Coast Live Oak as an icon of the district he represents. It hung in his Santa Barbara district office from 2016 to 2018, greeting constituents just inside the door of his local district office.

Coincidentally, when Salud won re-election this past November, the painting sold. So I changed out that original painting, replacing it with another version of the ubiquitous Coast Live Oak. This one is of a dead branch I had picked up from in front of my veterinarian’s office. The vet clinic is called the “Cat and Bird Clinic” because my vet specializes in those two species, and in the office it is not uncommon to see one of the resident cats roaming the lobby with one of the chickens who also lives there.

You can’t mistake the story of a cat’s claw and the falling feathers in the image of the branch. It seemed only fitting to call the finished painting “Cat & Bird.”

The soft vulnerability of the feathers against the sharp twigs is too often the story of sudden violence between cats and birds. But really, this time it’s just a Quercus agrifolia.

by Kirsten Rindal, posted by Deb Shaw

“Using Light to Create Realism in Botanicals”, taught by Robert McNeill at The Huntington Library, Art Collections and Botanical Gardens, October 3-5, 2018 was an amazing 3-day workshop!

Robert began with a thought-provoking quote by Leonardo da Vinci: “A painter should begin every painting with a wash of black, because all things in nature are dark except where it is exposed to light.” We were all inspired by the meticulous approach and techniques, and how he used light to reveal the drama, depth, form, transparency and detail of the subject.

Snapshot's from Robert McNeil's workshop.

Snapshot’s from Robert McNeil’s workshop.

He discussed the importance of capturing the effect of light, how it requires controlled tone/value to describe the relative lightness or darkness of color, creating an illusion of form. When we perceive tones/values, they are always relative to each other and never seen in isolation. Therefore, simultaneous contrast is always at work. Being able to create and control tonal/value gradation in watercolor is an important skill to acquire, along with the ability to see them and record them accurately. This controlled effective tone/value can take your work to a higher level by creating “enhanced relations through convincing volume”. Robert’s painting of the Cardiocrinum gigantum was a perfect example of how a painting encourages the viewer to look closer by revealing detail that has been made more apparent by light.

During the workshop, Robert shared examples of his work to illustrate the process and techniques of using light to create realism. He stressed the importance of constantly analyzing the process as one worked. Generous with information, patient in answering every question, his enthusiasm, interest and support were always encouraging.

Lighting:
Robert reviewed ways to light your subject, explaining that correct intensity and direction of light for the subject is important to reveal aspects crucial to capturing its essence. He usually uses overhead lighting that is controlled. He noted that it is not always helpful to place subjects in strong light, as extreme contrasts can create more problems than it solves. His painting of Abies koreana ‘Carron’ beautifully illustrates how studying the play of light across all aspects of his subject creates a sense of drama. We were encouraged to think about lighting in the subject’s natural habitat, and what would be typical of natural lighting. It was suggested that we avoid overhead lights in a room, and also light from windows, keeping light consistent on the subject you are painting.

Documenting Stage:
Thorough and objective observation of the subject is key. Observe the subject from all angles to ascertain which angle would convey the most convincing nature of the subject. Carefully look for overlapping and foreshortening. (Taking photos as a reference is OK, but best not to rely on photos.) For details use eyes, and measure subject for 1:1 scale, carefully documenting information, as subject will change by growing, wilting or drying out. Observe the difference that the angle of light source makes upon subject for revealing visual strengths. Fifteen minutes were given to make three quick loose, linear drawings of our subject, the rose. Fifteen more minutes were given to make three more quick, linear/tonal drawings. Color matching was made at this part of the documenting process. He asked us to be mindful of the way colors are affected by the color next to it. Robert uses Winsor Newton transparent paints only, and always mixes his own greens and oranges.

Development Stage:
We began this part of the process by producing a full size 1:1 scale drawing, referring to documenting stage material to ensure accuracy. Robert shared examples of his work showing meticulous detail to be used as a reference for final painting. Next we were to make an accurate tracing from the drawing of our rose. The tracing was placed in a variety of positions before making a final decision and transferring it to watercolor paper. After transfer, it was advised to always re-work to produce more accurate drawing. He cautioned us about erasures on watercolor paper that can cause paper’s surface to breakdown. Robert also gave a tip about using a piece of silk and an agate to smooth a ruffled paper surface.

Demonstrations:

Lifting Preparation.

  • Winsor Newton Lifting Preparation may be used for ease in lifting paint for veins, etc.
  • Use 3 layers of lifting prep, allowing 2 hours of drying time in between each layer.
  • You may use lifting prep over layer of wash.
  • Best to only use in small areas, and be extremely careful not to go over pencil lines.

Ox Gall Liquid.

  • Mix 3 drops of Winsor Newton Ox Gall in ¼ cup water. Keep small marked water jar with this mixture separate from other water.
  • This mixture helps paint to flow easily.
  • You may use Ox Gall and water wash on paper first, and when slightly damp, add paint wash. Or, you may use Ox Gall and water and paint all at the same time.
  • Never use paint with Ox Gall for dry brush work. Keep paints and brushes used for dry brush separate.

Dry Brush Technique.

  • Using a Spotter, WN 000, Robert demonstrated stipples and tiny fine lines.
  • Robert used a separate plate with tiny dots of dry paint, moistening his brush with a damp sponge.
  • For texture, only hit the high points of the paper.
  • Can use damp brush on top of stipples very carefully.
  • It is important to avoid using one technique, rather use a combination of wash and dry brush. Continually analyze the process you are using.
  • Indian Yellow may also be used as a light glaze over finished painting…very carefully.

During the three days, we all talked about Robert’s useful ideas and techniques that made an impression on us. At the end of the class, works in progress were placed on a table for sharing. Robert emphasized the importance of seeing all work within the group as a valuable learning experience. Following are ideas and techniques that resonated with members of the class:

“I very much enjoyed learning how to make fast, free sketches while not looking for details, but instead seeing the overall shape.”
“Learning how to focus on the contrasts, especially the dark and light.”
“Watching Robert using a scalpel to release bits of dried paint from the paper surface.”
“Experimenting with Ox Gall as a wetting agent in the water jar, and learning how to use WN lifting preparation was very interesting and highly useful information.”
“Hearing the words: ’Slow down, think, organize and plan’ was a reminder to always approach work with pre-planned thought.”
“Importance of continually analyzing the process.”
“Reactivate the line after a trace to create depth as a reminder while painting.”
“Remembering to soften outside edges while keeping them sharp, yet light.”
“Using a damp sponge for moisture control when using dry brush techniques.”

The time flew by far too quickly! We are all grateful to Robert McNeill, both as a brilliant artist and as an excellent teacher. His meticulous attention to detail and thorough observation of his subjects are reflected in the light and form he achieves in his paintings. He inspired us to see the subtleties and nuances of light as we create art. Thank you also to the Education Committee for bringing him here, to Tania Norris for supplying the subjects, and treats, to The Huntington for hosting us, and to BAGSC.

by Janice Hoiberg

Ellie Yun-Hui Tu,

Dudleya greenei, Greene’s Live-Forever, Watercolor on paper by Ellie Yun-Hui Tu, © 2015.

This year ASBA celebrates its 25th Anniversary! Founded 1994, with 200 original members, it has grown to the vibrant organization of over 1700 botanical artists from around the world.

As part of the celebration a special ASBA 25th Anniversary art catalog, “Celebrating Silver,” will be published. Each ASBA member in good standing is eligible to submit a scanned image of an artwork on the ‘silver’ theme. You may use the media of your choice, including Silverpoint, but all subjects must be of a plant with silver in its scientific or common name, or have a silvery appearance. Examples are Silver Birch (name) and Dusty Miller (appearance). For further information, see the Call for Entries page on the ASBA website. The catalog will not be juried. Submission deadline is June 10, 2019. The catalog is to be published October, 2019.

In addition to the Catalog each of the Chapters and Circles have been asked to plan an event as part of a rolling series of celebrations held across the country on the theme of “Celebrating Silver.” BAGSC members are encouraged to submit a scan to be included in the catalog. Plans are in the works for a BAGSC art show of “Celebrating Silver.” Stay tuned!

by Deb Shaw

Kokia drynarioides, Hau hele 'ula. Lesley B Randall, color pencil and graphite on cold press illustration board. Scale 1:1 and various for enlarged details, © 2015, all rights reserved.

Kokia drynarioides, Hau hele ‘ula. Lesley B Randall, color pencil and graphite on cold press illustration board. Scale 1:1 and various for enlarged details, © 2015, all rights reserved.

BAGSC’s exhibition “Totally Tropical,” opens Saturday, November 3, 2018, at the San Diego Botanic Garden (SDBG) in the Ecke Building. “Totally Tropical” celebrates the opening of the San Diego Botanical Garden’s tropical conservatory this past summer.

Seventeen BAGSC members are exhibiting 32 paintings of plants that grow in tropical climates in this non-juried exhibition. Originals and archival giclée prints will be shown. Artists include Natalia Alatortseva, Margaret Best, Melanie Campbell-Carter, Diane Nelson Daly, Catherine Dellor, Steve Hampson, Janice Sharp Hoiberg, Mary Jansen, Suz Landay, Arillyn Moran-Lawrence, Terri Munroe, Marilyn Anne Parrino, Lesley B Randall, Veronica Raymond, Kirsten Rindal, Deborah B Shaw, and Leslie Walker.

A casual reception will be held from 2:30 to 5:00 pm, Saturday, November 3, to celebrate the opening!

Exhibition DATES: 
November 3 – November 30, 2018


Exhibition installation: 
November 3, 2018, from 11 am – 2 pm

Potluck Reception: 
November 3, 2018, from 2:30 – 5 pm

Some of the artwork is for sale; ten percent of all sales will be donated to support SDBG.

Nepenthes ventricosa Blanco, watercolor on paper, Kirsten Rindall. scalle 1:1, © 2017, all rights reserved.

Nepenthes ventricosa Blanco, watercolor on paper, Kirsten Rindall. Scale 1:1, © 2017, all rights reserved.

As usual for SDBG exhibitions, BAGSC will install the exhibition the same day as the opening. All BAGSC members are welcome to come join in the installation, assist with the hanging, and see the amazing gardens. BAGSC members, friends, family, SDBG staff and the public are all welcome to join us for the opening reception.

The San Diego Botanic Garden is located at 230 Quail Gardens Drive, Encinitas, CA 92024. The garden covers approximately 35 acres; hours, admission, and information can be found on their website.

Looking forward to seeing everyone there!

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