Hardly anyone was drawing in the 70’s, when we were at art school. A few tutors paid lip service to it but basically it had fallen out of fashion in favour of a rather woolly notion of creativity. Observational drawing; life drawing; were so last year and the now was all about being. Stony ground, then, for those of us who persisted in the archaic study of form and structure. I remember a bit of a row with my Head of Department when I showed him a monochrome painting I’d made of an apple tree and suggested that apple trees had a particular structure that you could see through the distortions of wind, weather and pruning. He said that this was ridiculous and that all the trees were pretty much alike. He, of course, lived in an entirely uniform conceptual world whereas I was drawing the phenomenal. I felt puzzled and deflated by his negative response and yet -decades later – I can see that not only was I in the right, but that an understanding and recognition of these subtle structures would turn out to be absolutely essential when I began to love plants.
*On reading this back to myself the next day it seems I should at least try to explain what I mean about the structure of the apple tree.
All trees, of course, need light and soil and so they have evolved to make the best use of what light there is available which in turn suggests that branches and leaves are always arranged in the most efficient way to catch the sun in order to ripen their fruit/seeds for the continuation of the species. That’s undoubtedly true, but they all seem to do it in different ways and those different ways seem to be remarkably consistent from species to species. The apple, being a domestic fruit, grown for the benefit of humans, gets mucked about a fair bit by pruning for the best possible crop. The one in the photo has been very neglected and in a commercial orchard it would have had the central tangle of overlapping branches pruned out to allow light and air to the tree. But even amidst the mess I can see something of the familiar structure. The apple is a bit of a ballerina. I always think of a dancer on points, arms extended , curving slightly upwards and then downwards towards the lowered fingertips. The fruits, in the autumn, are like fairy lights; golden and streaked with red. They don’t need any notices to suggest “eat me” like Alice’s mushroom although too much cider from those same apples might have something of the same effect – and due to their propensity to cross breed promiscuously, every tree and every fruit – unless it’s been grafted – will be different. Some might be so full of tannin they’ll put your face into a rictus like pucker for the next hour and some so sweet you’ll fetch your penknife back from your pocket and peel another, and then another. While some trees sit solidly on their roots like cathedral pillars, the apple dances for the sun. It’s almost impossible to describe it in words but from winter buds to spring flowers and then ripening fruit it’s pure joy. It’s just a plant, you might say, but we truly know plants through all of our senses. We don’t just see plants we behold them. There’s aesthetic joy in seeing. We smell their perfume; we (when we’re sure of them), listen to them – shake a ripe Cox and you may hear the seeds rattling inside; taste them, dry them for the store and cook them. We can even turn them into alcohol and medicine.
Finding some botanical competency has been a long and pretty arduous journey through small errors and real howlers but just as we once learned to draw the human form by understanding how it articulates and holds together; the process of identifying plants involves genuine and deep contemplation of the tiniest details and the elimination of each false trail one by one until a family and then a species finally emerges. Often I’m defeated and I have to appeal to a higher authority – someone with more experience.
The upside of the experience is that – like the spokes of a wheel – explorations can take you off into all sorts of different disciplines, relationships and histories. Ecology, environment, global heating, folklore, cooking and medicine are just a few of the fields that can help to determine not just the name, but the meaning of a plant within human culture.
Autumn has slammed down the shutters on the prospect of long and warm days and tomorrow is offering a day of driving rain. At this time of year we turn towards the lovely world of fungi but darker nights and shorter days also provide the chance to go back over the hundreds of photographs I’ve taken during the season. This year I’ve been learning to use a new and very lightweight camera which offers in-camera focus stacking and eliminates the biggest bugbear of macro photography – very shallow depth of field. Now, for the first time, I can photograph a leaf and then, later, examine it at around x20 magnification; even down to the tiniest star shaped bunches of hairs. It’s all evidence when it comes to ID.
We’re soon off to Cornwall again in the campervan and so I’ve been hard at it in the kitchen preserving and bottling. Luckily our son has got a half-empty freezer and so some of the work can wait until we’re back. Later on we’re looking forward to a short trip up the canal in a narrow boat. The polytunnel is now clear apart from a couple of lunches worth of sweetcorn. I suppose it’s no surprise that we get so knackered. I’m massively disappointed with the Labour government but I never really expected anything more from them. Deacon Starmer and the Prophets of Gloom would make a great album for a funeral.
