Botanical Pigments

Exploring pigments from plants… ephemeral colours, like the blooms or leaves themselves.

Have attempted to transfer plant colours to paper.  The paper I used was acid free Fabriano Artistico, 300 gsm, as well as other types of paper.  The orange gazania petals made no impression, but the small pansies, the snapdragons, the black nemophila, and the elderberry leaf all left a mark of colour behind. Of course the rust worked, as did the onion skins, the black mould on the runner bean pod and the coffee… Here below are some of the results:

Here is another page of colour taken from red snapdragon and  blue pansy flowers and a lemon balm leaf along with other unrecorded plants.  The paper here was the inside of the cover of a pad of Bockingford acid and lignin free 300 gsm paper, so this cover sheet it may be acid free as well?

Snapdragon, pansies, lemon balm

“Sense of Place” at the Hastings City Art Gallery

This exhibition with Cristina Silaghi, Helga Goran and Kim Lowe took place from 28 July to 9 September 2012. I will upload photographs fairly soon. See the Hastings City Art Gallery Facebook page of 3 August on how to win a chocolate fish! I am glad somone did – well done to Julie King, the winner!  The gallery’s  main exhibition hall is showing “A Micronaut in the Wide World: The Imaginative Life and Times of  Graham Percy” until 23 September – a great, lovely, witty, charming exhibition which I found fascinating.  The detail below is from one of my paintings from 2008.

Okains Bay Road No 5 pigment in watercolour medium

Paint making workshop at the Papakura Art Gallery, Auckland

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During the current exhibitions Colour of Distance and What’s on Your Plate at the Papakura Art Gallery, I had the marvellous opportunity to hold a workshop on paint making from locally found pigments.  Three different colours were made during the workshop, and I brought many colour swatches made from Canterbury mineral and organic pigments for attendees to see and touch.

In the photo above, the What’s on Your Plate artwork just to the right and behind me on the wall, caught my attention because it shows a tin can label that lists many of the items that are produced from by-products of the petroleum industry.  I read through them all, hoping to see ‘pigments’ listed – but it wasn’t  –  probably round the back of the can!  One of the reasons that started my interest in making paint was that so many colours are derived from oil.

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Many thanks to Tracey Williams and Kate Hart of the gallery for the use of these photos taken during the workshop.

Colour of Distance is the latest group show by Cristina Silaghi, Helga Goran, Jocelyn Mills, Kim Lowe and myself, and it closes on the 7th April.

For more information and photos of these two exhibitions at the gallery,  visit their Facebook page via this link:  Papakura Art Gallery .

Whitecliffs Pigments

A selection of colours from Whitecliffs, in the Selwyn district of Canterbury.  The pigments are from rocks and clays that were used for pottery and glazes by my good friend June Inch, a potter, dyer and visual artist.  However, the dark purple-brown pigment at the top is from the Okains Bay area of Banks Peninsula.

I now have a selection of watercolours for sale on my Felt site at www.celiawilson.felt.co.nz

Natural pigments for an art practice

My (current) interest circles around the earth and organic pigments of the North Canterbury region of the South Island of New Zealand.

Copyright © Celia Wilson 2021. All rights reserved, may not be reproduced without prior permission except for reference or educational use.