Illustrators

"Allow your heart's desire to be revealed, test your resilience, prioritize your values, and commit to the process. The rewards come while you're busy paving the path.""

"I have come to realize that art is truly a universal language. For decades I’ve been creating “Peoplescapes,” oil, sculptured characters and applied objects on canvas, addressing cultural, political and spiritual issues facing society. By juxtaposing people in recognizable places and situations, each painting weaves together a story about contemporary life, filled with layers of detail, symbolism and humor."

"My "Peoplescapes" (2D and 3D oil paintings, with sculpture, fabric, found objects on canvas) are detailed narratives addressing social, spiritual and political issues facing society. When I travel, I love to paint plein air and capture the beauty and light of the landscape."

"I have healed my deepest wounds by painting, writing music and singing. These activities have allowed me not only to express myself, but to sit with the painful issues, providing space, and enabling me to see with a broader perspective. Sometimes, I'm lucky enough to release the neurotic patterns and move through those tender areas. My twenty-six year relationship with my husband has been an anchor and has helped me grow. Marriage makes one accountable and reflects back whatever you're dishing out."

"During World War II, Violet Oakley crafted twenty-four portable intended for American battleships, military bases, and airfields. While they seem conventional at first glance, a closer inspection uncovers distinct elements, such as the spirit’s victory over matter, which promises triumph and tranquility. With Oakley, art created by Christian Scientists matured. She demonstrated that illustrating Christian Science books is not essential to conveying the principles and spirit of the religion within the evolving realm of modern art."

"The artist must decide whether the correct botanical information has been conveyed in the the drawing in the best way possible. When and flowers are huddled together they can be repositioned to give a more open design; and leaves lining up with stems can be moved slightly so that the drawing can be clearly understood. It is difficult to know whether to include insect damage and nibbled bits, as well as leaves that have been on the plant all year and look discoloured and weary. When you are illustrating a plant that retains its bare leaves all through the year, such as a , it would be unwise to tidy up the plant and remove the older leaves as this would destroy part of the plant's life history. Leaves with autumnal fruits will not appear as fresh as they would in the spring."

"The artist may not ask any questions about the species at all, but rather look at a flower as an individual of nature with its own unique features of colour, texture, form, size, and proportion. Their first question may be 'how do I capture the essence of the flower in my canvas?' Or perhaps 'how do I create a work of true beauty that may equal or surpass nature itself?'"

"... in the first century AD, the first known copies of ' ('On Medical Material') were produced, translated into both Latin and Arabic. These were written by a Roman physician of Greek origin called . In this illustrated book he covered 600 plants with around a further 1,000 medicines made from them. It was widely read for thousands of years and was regarded as a pharmaceutical 'bible' for those in practice, becoming the most influential work on medicinal plants in both Christian and Islamic cultures. Astonishingly, a copy of the illustrated manuscript, dating back to the sixth century, is still in existence, held in Istanbul, Turkey."

"The earliest flower drawings were for the most part made to assist the searcher after herbs and s. was desired and soon to a surprising degree achieved, for there can be little doubt, as we shall see, that the illustrations provided for herbals nearly two thousand years ago were highly naturalistic. Gradually, however, unintelligent copying led to a debased and stylised type of figure which was nothing more than a decorative embellishment to the text. With the Renaissance came a revival of naturalism, but the function of the botanical illustrator remained at first unchanged."

"Choosing the subject for a drawing or painting is an important part of the creative process. Selecting a good example of the plant you are going to paint is the first step towards a good illustration."

"... the months that followed 's must have been dreary enough. Fortunately, his new book—the one thing that had made the last year bearable—still provided some distraction for his thoughts. had just been published by . There were reviews to be read, copies must be sent to old friends. He had taken great pains with the looks of his "bantling" and was satisfied."

"It was a time when fashion was permitted to walk hand in hand with piety. All the fashionable accomplishments were taught by experts at . Fanny's contralto voice was well trained. She acquired enough Italian to read ',' a little Latin, even a little . Her Parisian accent soon became the envy of the other English girls ..."

"... In such strange homes as the and the , or the deserts of Utah and southern California, we find the oddest desert plants, forced to curious expedients in order to sustain life amidst almost perpetual heat and , but often displaying blossoms of such brilliance and delicacy that they might well be envied by their more fortunate sisters, flourishing beside shady waterfalls, in a "happy valley" like , or a splendid mountain garden, such as spreads in many-colored parterres of bloom around the feet of . On the wind-swept plains hundreds of flowers are to be found; many kinds of hardy plants brighten the salty margins of the sea cliffs, or bloom at the edge of the snow on rocky mountain peaks, while quantities of humble, everyday flowers border our country roadsides or tint the hills and meadows with lavish color."

"“I’d always associated that with Black people really creating groundbreaking, global, effective work and I really wanted to be a part of it.”"

"“When I started my (art) journey, I was really inspired by hip-hop, rap and basketball, and I’d always seen this theme of Nike Air Force 1s and Air Jordans,”"

"“Hair has been something that’s important for not only my family but a lot of African people as well; it’s really like the center of our identity in a way. So, when I started drawing, I’d draw people having really fresh haircuts or beautiful braids.”"

"“It’s always been a part of my journey since I was little, so it felt like it came full circle, and confirmed what I’m doing. And now my parents believe that this is a real job!”"

"“I feel immense pressure because I really want to represent my identity correctly and authentically, make sure it’s being celebrated and not exploited for monetary gain or trendiness. But I take comfort in knowing that my community really supports me, and is really encouraging me to continue to do what I do. And I trust my own decisions.”"

"“Within all of my work you’ll see nuggets of a zigzag and that represents cornrows that you see in beautiful patterns; you’ll see combs, you’ll see people that look familiar to myself and my narrative,”"

"“In the beginning, I didn’t think my voice would be enough, or that anyone that came from where I came from would even be listened to.”"

"“I didn’t think anyone that came from where I came from would be listened to.”"

"“That’s when the fire got lit underneath me, because it wasn’t being done, and I thought it was overdue.”"

"“I came from a traditional art background, and seeing people use technology to tell stories really captivated me.”"

"“I’m extremely proud to be a Black female African illustrator because this was a space, I’ll say 10 years ago, there weren’t a ton of us there,”"

"“It was the first time we saw black people create something so uniquely theirs, and so visually beautiful, that spoke of all the things we learn at home, in a way that was so proud and unashamed. It was so far away from us, but we could relate to everything we saw in the music, fashion and sitcoms – it still felt like home somehow.”"

"“What we were learning was catered to more of a Western narrative, and we weren’t really seeing an African narrative being taught or explored, or even encouraged,”"

"“We need to see more female designers in the industry. There’s not enough,”"

"“I was blown away by how people were creating digital art with all this software I’d never heard of, and communicating just using their art,”"

"“In the textbooks, there was traditional and primitive African art, nothing contemporary, or in the context of advertising or digitisation.”"

"Among those creatives were the impeccable Manthe Ribane and Nonku Phiri, I knew there and then that she was a force; given the calibre of brilliant women she was featured alongside. Her work was impressive then and still is now; she has not looked back since."

"“There’s a certain way in which we tell stories that I think the world not only will enjoy, but I think the world needs.”"

""Shoebox collections like Poppy’s tower are a source of pride within sneaker culture, according to Wells. By having those boxes serve as her “vision board,”"

"The first time I learnt about Karabo Poppy Moletsane and her work was four years ago when she was unveiled as one of the African creatives, who collaborated with a major European brand."

"Why do people need to have control over the lives of others? Why this fear of the other? This fear of difference — the fear of change — why this fear of our own bodies? Why this inability to accept our own death? What are the connections between those things?"

".. the way I work ... I'm really seized by the scruff of the neck each time. ... Something pounces. It's absolutely irresistible and often will pounce at three in the morning ... or at six in the morning ... And I will get up and start writing. ... I really count on novelty and synchronicity and dreams to direct me and to kind of release the energy."

"... it's not an accident that the creative imagination is the first thing that's punished when tyrannies take over …"

"I remember this star, though. Maybe it’s not even a real memory, but this star makes me feel safe, like my mom and dad are nearby. I used to actually talk to the star, which seems really childish to me now. Still, feeling like my parents are close makes it easier to make big decisions."

"I thought back to what Jeri told me, years ago. None of us ask to be born where we are, or how we are. The challenge of life is to make the most out of what you’ve been given. And despite all of the things I don’t have…I have been given something very important. The love of others is a gift from God, and it shouldn’t be taken for granted."

"Those who are lost look to the stars to lead them home."

"For me, the first years are lost."

"We may be refugees and orphans, but we are not alone. God has given us the gift of love."

"My dad’s friend’s cousin just got sent to America, and he sends back money every month. Everyone there is super rich!”"

"Jerusalem, adorned with the memories of the past, appealed to her more than the 'white cardboard boxes', which she associated with Tel Aviv."

"She was a fascinating university lecturer, who loved to stand on the pedestal, her eternal cigarette in her hand, and read poetry in her deep, rough, unpleasant voice, that nevertheless drew crowds into over-stuffed auditoriums."

"Although she became the Head of Comparative Literature Studies, she remained alien in the academic establishment. 'Being both an artist and a woman, the male colleagues belittled her academic achievements, and she had a hard struggle to be nominated as a professor', recalls Esther Tishbi, a friend."

"She was always guarding her secrets behind walls, and her love poems were covered under seven veils of mystery; among her most beautiful is the sonnet sequence, 'The Love of Theresa De-Mon'"

"biographer Professor Leiblich: "...from an early stage, she felt herself old, heavy, too serious. She had a sense of guilt about all her loves, she perceived love as a nuisance, something to beware of.""

"Professor Amiya Leiblich: " 'She suffered from emotional deficiency...She had a permanent guilt towards all the men she was in love with, as well as an inferiority complex. Even in poetry, where her value and superiority were unmistakable, she always thought she was lacking, and not as good as Ben-Yitzhak. As a feminist, I am indignant that a poet as great as Goldberg, erased herself, not just as a woman, but as an artist.'"

"'At times of lack of inspiration in writing, she turned to painting. She often made sketches of the literary protagonists who furnished her life, as she visualized them in her imagination', remembers her friend, the poet T. Carmi."

"The poet, Tuvia Ribner, a close friend for dozens of years, and the executor of her literary estate said: "The memory of the father and her fear accompanied Leah to adulthood. This is the reason, I believe, that she chose the stricter poetic forms, such as a sonnet, which has 14 lines, meticulous rhyming scheme and fixed rhythm, and avoided loose rhythms. Her poetics emerge from a strong need for self-control, every single one of her poems having a rational basis, meant to guard the poem and herself."