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United by their explorations of nature’s shifting meanings, these artists examine how human intervention, historical narratives, and material processes reshape and reimagine the natural world. Their works reflect an ongoing effort to reconsider the status and significance of plants within our environment and culture.",[],[572,577,580,586,592,598,601],{"type":56,"text":569,"spans":573,"direction":22},[574],{"start":51,"end":575,"type":576},11,"em",{"type":56,"text":578,"spans":579,"direction":22},"Caroline McQuarrie’s intimate textile work offers a reflective meditation on the colonial legacy of “improvement.” Stemming from a personal connection to her family’s West Coast property—where a regenerating native bush, marked by historical logging, stands as a testament to past interventions—McQuarrie transforms the unruly complexity of the forest into a simplified grid pattern through meticulous cross-stitch. This process of reduction, which tames wildness into an orderly, comprehensible array, serves as a potent metaphor for colonial efforts to control and “improve” nature. By stripping away the inherent complexity of a living ecosystem and distilling it into a pattern, her work interrogates the losses inherent in such simplifications. Moreover, it evokes historical practices in which needlework became a means of cultural refinement—a realm in which marginalised women could assert their skill and gain societal respectability. In McQuarrie’s hands, the act of stitching is both an homage to and a critique of the forces that have subdued nature’s wild vibrancy.",[],{"type":56,"text":581,"spans":582,"direction":22},"For more than a decade, Ann Shelton has explored the micro, marginal, bleak, and traumatic counter-histories of plants through her photographic and performance-based art. Shelton’s floor-standing photographic installation, from her ongoing series i am an old phenomenon, delves into the lost language of plant lore—a reassemblage of fragments from an ancient belief system that revered the medicinal, magical, and spiritual properties of flora. In many ancient cultures, plant knowledge was a vital, often gendered tradition maintained by wise women, ‘witches’, and wortcunners. The works in this wider series powerfully evoke the persecution these custodians of natural wisdom endured as their holistic understanding of plant life was displaced by the rise of Christianity and the onslaught of capitalist practices. In this glimpse of the wider set, the carefully crafted Elder plant sculpture sits back to back with a submerged and fermenting ginger plant. 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The immense scale of this work threatens to overwhelm the gallery space and other works, yet the lightness of touch, fluidity of brushwork, and floaty fabric create a harmonious synergy, making the viewer acutely present.",[589],{"start":590,"end":591,"type":576},17,23,{"type":56,"text":593,"spans":594,"direction":22},"Jaime Jenkins is another artist deeply inspired by her connection with nature. The earthy and celestial glazes she employs—evoking starry blues, forest-floor greens, and deep, grounding reds—reflect her profound attachment to the natural environment. Through her innovative stoneware, Jenkins transforms raw clay into forms that capture the transformative essence of nature, continually challenging and expanding the possibilities of her medium. Rambler, Jenkins’ largest work to date, is an intricate and complex ceramic chain structure, fired entirely in two pieces. 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Teetering on the edges of functionality and fragility, her works take on structural, organic and intricate shapes. Chains and bells are frequent subjects in Jaime's practice, objects that defy the brittleness of fired clay, and that create movement and sound. These sit alongside dense architectural pieces that can be used as stools, shelves and tables, or works that simply exist in isolation as large sculptures. Her practice moves constantly between these states: a heavy, floor-based piece might be followed by something light and suspended, as she works through the extremes of what the material can hold.",[],{"type":56,"text":628,"spans":629,"direction":22},"A core source of inspiration for Jaime is her experience of nature, which she translates into clay. Jaime speaks of feeling \"filled up by nature\" when she spends time in the landscape, such as out for a bush walk or diving into a water hole. Some pieces incorporate rocks gathered from favourite swimming spots, carrying something of that place back into the studio. The glazes and slips she uses are earthy and celestial, reflecting this deep attachment to the environment. Starry blues, forest-floor greens and deep grounding reds are some of the colours Jaime returns to.",[],{"type":56,"text":631,"spans":632,"direction":22},"She is also drawn to the long lineage of ceramics, both in Aotearoa and further afield, and to how other times and places have worked with this material. Cracks that appear through firing are often filled with resin rather than hidden, a small acknowledgment of fragility built into the finished piece. 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Shelton is one of Aotearoa New Zealand's foremost photographic artists. Ann lives in Titirangi, Tāmaki Makaurau Auckland and is represented by Jhana Millers Gallery Te Whanganui-a-Tara Wellington",{},{"dimensions":1784,"alt":46,"copyright":46,"url":102,"id":103,"edit":1785},{"width":44,"height":45},{"x":105,"y":51,"zoom":52,"background":53},[1787],{"type":20,"text":91,"spans":1788,"direction":22},[],[],[1791,1793,1796],{"type":56,"text":108,"spans":1792,"direction":22},[],{"type":56,"text":1794,"spans":1795,"direction":22},"Shelton’s recent photographic series have investigated the intersection of plant knowledge, reproductive politics, and the suppression of botanical histories. In jane says (2015–ongoing), she carefully arranges plants historically used for fertility regulation, contraception, and abortion into meticulously constructed ikebana compositions. These works highlight the knowledge systems that have long been held and shared by women, yet have been systematically erased, dismissed, or criminalized. Her ongoing project i am an old phenomenon expands on these inquiries, exploring how the professionalization of botany and the rise of Western medical institutions displaced traditional understandings of plant medicine.",[],{"type":56,"text":1797,"spans":1798,"direction":22},"Shelton’s photographic practice engages with what scholar Donna West Brett describes as an “aesthetics of displacement,” working within a feminist methodology that examines the power structures embedded in knowledge production. Her lush, highly detailed images challenge the historical suppression of plant-based medicine and the cultural frameworks that have shaped contemporary reproductive politics. By revisiting and reactivating these histories, Shelton’s work provides an urgent and poetic meditation on the relationship between people, plants, and power.",[],{"link_type":637,"key":1800,"kind":639,"id":1801,"url":1802,"name":1803,"size":1804},"0698d9ab-ca5a-4dd2-919c-599d0fb77237","af1VE6YofJOwG-AA","https:\u002F\u002Fjhanamillers.cdn.prismic.io\u002Fjhanamillers\u002Faf1VE6YofJOwG-AA_jhanamillersartgallery_annsheltoncv.pdf","jhanamillersartgallery_annsheltoncv.pdf","126219",[1806,1814,1821,1829,1836],{"image":1807},{"dimensions":1808,"alt":1809,"copyright":46,"url":1810,"id":1811,"edit":1812},{"width":44,"height":45},"Ann Shelton Jhana Millers 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the blue flowers follow the sun (chicory, succory, blue sailors, coffeeweed, wild succory, blue daisy, blue dandelion, blue sailors, blueweed, bunk, coffeeweed, cornflower, hendibeh, horseweed, ragged sailors, succory, wild bachelor's buttons, and wild endive)",[],{"dimensions":1859,"alt":1860,"copyright":46,"url":1861,"id":1811,"edit":1862},{"width":45,"height":763},"All the blue flowers follow the sun (chicory, succory, blue sailors, coffeeweed, wild succory, blue daisy, blue dandelion, blue sailors, blueweed, bunk, coffeeweed, cornflower, hendibeh, horseweed, ragged sailors, succory, wild bachelor's buttons, and wild endive) by Ann 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appearance of a Lion (Siberian motherwort, honeyweed and marihuanilla, little marijuana, or sibirisches herzgespann - German for Siberian heart's delight, lion's ear, Siberian lion's tail)",[],{"dimensions":1898,"alt":1899,"copyright":46,"url":1900,"id":1901,"edit":1902},{"width":306,"height":763},"The appearance of a Lion (Siberian motherwort, honeyweed and marihuanilla, little marijuana, or sibirisches herzgespann - German for Siberian heart's delight, lion's ear, Siberian lion's tail) by Ann 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your coat for betony (betony, wood betony, common hedgenettle, purple betony, bishopwort, or bishop's wort, hairy nette, devil’s plaything)",[],{"dimensions":1938,"alt":1939,"copyright":46,"url":1940,"id":1941,"edit":1942},{"width":45,"height":763},"Trade your coat for betony (betony, wood betony, common hedgenettle, purple betony, bishopwort, or bishop's wort, hairy nette, devil’s plaything) by Ann 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