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In another light: Part II
Muse Gallery, Havelock North, 2020 

Left: T.Forbes: Facsimile No I, Rhododendron Glaucum From Hooker & Fitches Sikkim-Himalaya collection 1851- 2020, August 2020
​Right: Print from Hookers Rhododendrons of Sikkim- Himalaya 1851
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Part two of an exhibition first shown in New Plymouth, Taranaki in 2018, this exhibition will include a print series from the original works made up at Pukeiti Gardens, a light work from the same show and two new original paintings based on Sir Joseph Dalton Hooker's Rhododendrons of Sikkim-Himalaya's from the mid 1880's.

"Still fascinated with the early processes of C19th botanical art and collection, that included detailed colour studies and sketches, the new works focus on original study notes and the idea of facsimile.  These are taken directly from two works made by Hooker and finished by Walter Hood Fitch.  There is a conscious absence of flowers in the works shifting the focus instead to the foliage body of the plant and the purity of the flower as saturated colour, redirected into the plants background."
Work in progress, August 2020.

Paradise Lost: Daniel Solander's Legacy
Group Exhibition, Solander Gallery Wellington 2019 - 2020

Images: Solander exhibition logo, John Milton's Paradise Lost, Original painting T.Forbes included in Wellington show, cover of exhibition catalogue. 
​The following text on the project is from Solander Gallery website as linked here:  solandergallery.co.nz/exhibition/paradise-lost-daniel-solanders-legacy/

To coincide with the 250th Anniversary of Cook’s first voyage to the Pacific, Solander Gallery and project partner Embassy of Sweden in Canberra will open Paradise Lost, a group exhibition to commemorate the contribution naturalist Daniel Solander made to New Zealand’s history.
The ten artists selected each bring a unique vision to this historical event and collectively put flesh to many of Daniel Solander’s facets, not least of which are his scientific credentials in botany, his cross-cultural awareness and his enthusiasm for the preservation of the unique species of the natural world.
Participating artists are, John Pusateri (Auckland), Alexis Neal (Auckland) Dagmar Dyck (Auckland), John McLean (New Plymouth), Tabatha Forbes (New Plymouth), Michel Tuffery (Wellington), Sharnae Beardsley (Christchurch), Jo Ogier (Christchurch), Lynn Taylor (Dunedin) and Jenna Packer (Dunedin).
Scientist Joseph Banks, employed Daniel Solander, a Swedish botanist and together they collected hundreds of plant species as the Endeavour circumnavigated New Zealand 1769.
As paper was in short supply in 1760’s England, Banks and Solander bought printers proof of Milton’s book Paradise Lost and it was pages from this work that were used to press and dry the first European collections of New Zealand plants.

A 35 page colour catalogue Paradise Lost – Daniel Solander’s Legacy is also available online or from Solander Gallery.

Touring Dates:
Russell Museum | Te Whare Taonga o Kororareka | 5 April – 18 May 2019
Dargaville Museum | Te Whare Taonga o Tunatahi  | 2 June – 7 July 2019
Reyburn House Art Gallery, Whangarei | 16 July – 18 August 2019
Auckland Botanic Gardens, Manurewa | 2 September – 11 October 2019
The University of Auckland | Old Government House |17 October – 15 November 2019

Puke Ariki | New Plymouth | 25 November – 17 January 2020
Millennium Public Art Gallery, Blenheim  | 14 March – 26 April 2020
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Image: This is from the drypoint prints (hand printed by Michaela Stoneman) that I made directly from my original painting (based on a nikau specimen collected by Solander & Banks 1769-71 NZ)
In Another Light: Rhododendron Project (Part I & II) 2018
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Part I: Kina Design & Artspace, 101 Devon St, New Plymouth
26 October – 20 November 2018
Part II: Pukeiti Rhododendron Gardens, The Lodge, 2290 Carrington Rd, New Plymouth
2 November – 16 November 2018
Additional events during Taranaki Garden Festival: www.gardenfestnz.co.nz/
Painting in Residence, Pukeiti Lodge
31 Oct – 1 November (10am – 5pm)
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Botanical Art Workshops 2018, Pukeiti Lodge:
11 - 12 August: Adults beginners botanical workshop
6-7 October: Kids botanical workshop
3 – 4 November: Adults botanical art workshop
Images: Tabatha Forbes © 
To see more visuals as this project progresses, please clink on insta- link below:
Statement:
"For nearly two decades my work has been increasingly concerned with the link between early C18th European perceptions of the South Pacific through collection and documentation and present day manifestations of those aesthetics and agendas.  For example, how we value nature (flora & fauna) and how that evolves and recedes through the current influence of economy, beauty, politics and ecology. 

The story of how nature is initially seen (both in indigenous and European histories) and how it is developed as a 'productive' resource, is always a curious story to tell.  Drawn to Pukeiti Rhododendron Gardens, for its inception as a sanctuary, I was particularly inspired by an opening passage in Graeme Smiths Pukeiti book (1997),


“At first glance, the killing fields of Gallipoli and the Somme would appear to have nothing in common with Pukeiti.  In a paradox of history, however, one gave birth to the other...
After two world wars and the decimation of many parts of the old World, and not a few areas of
​New Zealand, there seemed to be a general coming together of people interested in plants. The ravages of war and its lost generations, combined with the blackened stumps of a blighted local landscape, cleared for pasture, made some people aware of what was being destroyed.  Tree, flowers and birds, amongst other things, ‘restoreth the soul’” p 10.


I imagined some of the Pukeiti founders, such as Douglas Cooke who served in Egypt, Gallipoli and France during World War I, returning to New Zealand with the dream of creating a place of natural tranquility and beauty, contrasting completely the devastation of both humanity and landscape experienced through war.

Within the research for this project I have also drawn on some of the C19th plant-hunting stories and the visual representations of those early collections.  I was fortunate to see a copy of the precious Joseph Daltons Hooker 1849 book, The Rhododendrons of Sikkim-Himalaya with its brilliant illustrations by Walter Hood Fitch.

While the work takes on a particularly European visual aesthetic of its subject, the interest for me is always tied to its present day manifestation – particularly, how the garden has become a public sanctuary for both the unique indigenous flora and fauna of its region, as well as accommodating a significant and evolving collection of the Rhododendron species on the global stage.
 

My recent doctoral thesis and studio work over the last 15 years has been entirely focussed on the way in which the historical view has shaped a certain aesthetic appreciation for place (through landscape and flora/fauna).  I believe that those aesthetics, now several centuries old, continue to draw us back to our appreciation of both the beauty and fragility of nature.  Significantly however, I am not proposing a replica of those histories, but rather I am taking an opportunity to highlight the importance of preserving such places in the C21st century context. 

The place itself, as natural environment and with its connection to Maori and Pakeha, is multifaceted and therefore always subject to the complexities of current culture and politics.  That aside, the here and now is that the creation of this garden (as with many in the Taranaki region) act to educate an audience on the importance and value of preserving and nurturing natural places and ecosystems.  Not only do they successfully conserve flora and fauna, but they also act to reinforce the identity of the region.   The Taranaki Regional Council has taken on some of these formally privately run gardens ensuring that the legacy of plant and petal continues to attract attention to the region while simultaneously emphasising the importance of conserving our natural resources.
​

The project aims to significantly acknowledge those visionaries of the past, while bringing to the present the value of the place itself and its commitment to the preservation of native flora and fauna as well as the obvious attraction of creating an environment to grow and display the rhododendron species."   
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Image from : Joseph Dalton Hooker 1849 book, The Rhododendrons of Sikkim-Himalaya illustrated by Walter Hood Fitch.
About the process:
"I have based several previous projects looking at botanical art techniques and translating that through water based paint and print. Given the vast history of representation surrounding the beautiful rhododendron flower, I am taking a different approach with the final works which will be made in different stages. 

The first includes the extensive documentation of the Pukeiti in its different seasons and discussions with people connected with the gardens.  Secondly I am undertaking a series of paintings based on my photographs.  Rather than purest botanical studies, or referencing a select choice of flower, I am focusing entirely on form.   Through this step I aim to present the plant in a way that highlights its particular features, whether it’s the spots on a petal, composite flower structure or leaf. 

The final part, and where the two exhibitions separate is in its commercial print form.  Here I am experimenting with different print surfaces, filters and light to evoke particular atmospheres around the plant.  Very rarely do we choose to go and see the rhododendron plants out of their flowering season, on a rainy day or at dusk.  This shift in emphasis also advocates a shift in perception. The value of nature to me is significantly beyond the immediate gratification of a pretty flower.  Pukeiti itself represents the very best of our ability to create, nurture and celebrate nature." 

June 2018
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Image: Thrown Together by Nicci, Goodin Garden, Okato.   Tabatha Forbes©
​The Goodin Project : The gardener, the florist & the artist
Taranaki Garden Festival, November 2017
Working in residence at The Goodin Country Garden, Okato, Taranaki with Nicci Goodin Florist, New Plymouth

Statement:
"What does having the vision to create a beautiful garden, sharing that place with the public, turning a bunch of flowers into something magical, or painting a plant have in common? 
Simply, that the gardener, the florist and the artist share a common passion for plants and a desire to celebrate the delicate beauty that nature inspires.

The collaboration between these three parties was a small opportunity to share a collective passion for place, and for plants that for each has unwittingly become the subject of their life’s work.  For Tabatha, it is also a tribute to this family story.
Growing up in the Goodin house hold, Nicci’s environment was one of working in the land (Okato farm) and the families creation of the Goodin Country Garden, which would eventually be shared as a Taranaki Festival destination as well as a lovely place to stay and experience first-hand.  Nicci’s subsequent dedication to working with flowers and foliage has taken her all around the world before settling back in New Plymouth as a successful designer florist.
As an artist, Tabatha sees her work as an evolving collection of stories from the South Pacific, linked to the early European history of botanical representation discussed within a contemporary rhetoric."   
During this project Tabatha spent time painting one of Nicci's creations from the garden, in residence at the Goodin homestead during the Garden Festival.
www.niccigoodin.co.nz
www.goodincountrygarden.co.nz

Image:The Goodin Country Garden, Okato and two of Nicci's bouquets from the garden.
ii
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Image: Plate 2, Market wear, Avarua. T.Forbes ©
'Ei Katu: An ethno-botanical project
 bergmangallery.co.ck/exhibitions/
Bergman Gallery 
Rarotonga, Cook Islands
​2017

Statement:
How we see place, how it has been marked and represented in a European context (notably contrasting an indigenous perspective), and how those aesthetics flow in and out of our current understanding and experience is at the centre of my practice.  
Shifting to the South Pacific has broadened my understanding of what ‘cultural practice’ means, specifically how the divergence of old and new ideas is often conflicted by the shifts and pressures of modern life.  For example the introduction of mass-produced materials or the inaccessibility of organic, or more traditional materials.  I am interested in the fluidity and complexity of connecting the past with the present.
Earlier projects in Rarotonga included looking at the introduction and collection of plants, animals and artefacts during the 18th century European voyages into the South Pacific.  The idea of cultural exchange, especially during those initial meetings essentially changed those places/people/cultures and environments forever.
Within the contemporary context of globalisation I consider the obvious fact that no part of the world is untouched by these influences.  Immigration, travel and technology all insist whether we approve or not, that we change.  That being said, the importance of past traditions defines not only a nations people but also the place itself.  
Images: Rarotonga markets, T.Forbes© 
Taking an ethno-botanical perspective, the project addresses the importance of connecting people and place through the cultural use and value of the plants around them – notably reflected in the islands head ’ei / ’ei katu making.
In Rarotonga, one cannot ignore the beauty and importance of the ’ei katu in the day-to-day adornment of women.  All around the island different styles of ’ei katu seem to represent not only the availability of fresh flowers and leaves at a particular time of year, but have also adapted to include an innovative use of artificial flowers.  Significantly, some women have created their own styles or have their favourite ’ei katu makers.  There seem to be ’ei katu for all occasions and the more I look into this practice inevitably, the more diverse it becomes. Every one of these ’ei katu has a story; it’s not a finished or conclusive project.
I began taking photographs and talking to women about their ’ei katu in 2015 and, like my ukulele project (2012) note that the style and methods are a hybrid between traditional methods and modern adaptations. Traditionally made from fresh flowers and leaves some of todays ‘ei katu may include plastic or fabric flowers creating long-life versions that may be used for traveling overseas or can be sold to the tourist market. 
While there are many talented ’ei katu makers in Rarotonga, the selection I have painted have  come from events and occasions I have encountered; for example one of the most recent paintings was an ’ei katu made by children in my daughters class at her emotional farewell assembly at Apii Te Uki Ou school.
The paintings attempt to document the beauty of the craft but also reference an old practice in a contemporary context.  Without the person, the paintings become ethno-botanical artefacts, abstracted by the empty headspace.  The final works are significantly tributes to both the makers and the beautiful women in the Cook Islands wearing them.  The show is also a tribute to this island - in my mind embodied in nature through the vibrancy of the ’ei katu.

May 2016
​
Giveaways:  The Ukulele Project
Bergman Gallery (formally Beachcomber Gallery / BCA)
Rarotonga, Cook Islands
​2012
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Image: Tropical Almond Pl.1. T.Forbes ©
Statement:  
My first show in Rarotonga, Takeaways was predominantly concerned with the barter between the indigenous Pacific Islanders and the early European voyagers; specifically the taking away and leaving behind of certain objects/plants and animals in the South Pacific.  Giveaways continues with the idea of historical introductions within both nature and culture, this time focusing on the the very current ukuklele icon and creating a project that attempts to re-position it as an artefact of both cultural and historical value in the making.   
After designing 3 sets of ukulele (referencing their musical origins in Portugal, Hawaii and Tahiti) I worked with an Atiuan craftsman (neighbour and friend) to make 6 in the 'Polynesian style' using 3 different native timbers.  The works act in reflection illustrating the plant of the timber but also demonstrating the shift in perception though the shift in use, materials and context.
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Image: Tropical Almond Pl.2. T.Forbes ©
The painted and burnt wooden pairs illustrate the contemporary adaptation and traditional origins of the ukulele story in the Cook Islands.  The works question how we value culture and nature and how those values shift over time influenced by tourism and globalization for example.  The practice of art and craft in the Pacific, while generally considered to be valuable as 'souvenirs' is still hugely significant in representing the time, place and people making them.  The ukulele in this show were not available for sale as instruments, but rather presented as museum artefacts available only as limited edition prints.
In addition to the exhibition I commissioned 10 coconut ukuleles made (which I painted) for Apii Te Uki Ou Schools music department.  The show included a performance.
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Images: Walking home, craftsman Teau in Titikaveka, learning to draw with heat, Apii Te Uki Ou school uke blessing, Bergman Gallery installation Rarotonga 2012, T.Forbes ©
Takeaways : Give & Take in the South Pacific
Bergman Gallery
Rarotonga, Cook Islands
2011
Images above & below: T.Forbes ©
Statement:
​For the last decade I've been looking at the empirical practices of botanical and natural history illustration.  Within this field is an interest in the process of collection, identification, introduction (of flora and fauna) and the consequential appropriation which was tied into many of the early Pacific explorations. Over the last few years I have been focused on the environmental perception of place and specifically, the aesthetic histories that have shaped that perception.  Takeaways is predominantly concerned with the early barter between the indigenous Pacific islanders and those aboard the European exploration vessels. Specifically the taking away and leaving behind of certain things as discussed previously.  Some of these are conscious introductions and other accidental - like the ship rat.  The show draws attention to both cultural and ecological  exchange and how the value of both indigenous culture and indigenous nature (flora & fauna) was regarded - or significantly disregarded at the time.
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Once left or taken these items are also removed of their original context, becoming transient - or without purpose, people or place. For example, the Tongan fertility statue painted on an English side plate or a Catholic rosary painted on a Cook Island mother-of-pearl shell intends to express the absurdity of exchange.  These important cultural items (re-represented directly from items in  Cook's collection from the South Pacific 1769-71) were effectively 'served up' as curiosities to the European audience at the time in both Museum display cases and illustrated reproductions. Inevitability their importance, culturally, spiritually, practically and ecologically is also, in part, lost, in effect becoming something else -  misappropriated, disrespected and in the ecological sense naively overlooked.  The consequences of this, in a present day context are still being addressed. For example the effects of introduced species on native flora and fauna, and the repatriation of cultural artefacts to the Pacific Islands from European museums.
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