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WHERE TO SEE NATURE AND ART THIS SUMMERMaria Merian’s Butterflies at The Queen’s Gallery, Holyroodhouse will reveal the story behind an exquisite series of scientific prints created by a German artist and entomologist Maria Sibylla Merian. Dating from the end of the 17th century, they revealed the wonders of Suriname to a European audience. Until 23 Julyroyalcollection.org.ukLichens, Landscapes and Literature at Nature in Art, Twigworth, Gloucestershire, explores contemporary textile artist Liz Brooke Ward’s abstract and highly tactile interpretation of the natural world.20 June–16 Julynatureinart.org.ukWolverhampton Art Gallery will be hosting Wildlife Photographer of the Year. Among the 100 award-winning images are shots of dramatic animal behaviour and breathtaking landscapes.22 July–1 Octoberwolverhamptonart.org.ukMaria Merian, Frangipane plant with Red Cracker butterfly images in the accompanying book, touching on various topics including art, history and conservation. Birds of the New Forest is Dashwood’s third solo show at St Barbe, providing local balance to a global exhibition schedule that has stretched over 30 years. A self-taught artist, Dashwood first started sculpting in his 30s with commissions for ceramic companies. He soon focused on his own work, increased his sculptures to life size and started to eliminate detail. Over the years, he has refined this process in order to arrive at pure forms, the very essence of each species. He also creates monumental works, their towering dimensions helping to change our perceptions of birds we may otherwise take for granted.Dashwood’s sculptures are created in bronze, a material he likes for its strength, versatility and acceptance of patination. The striking colours and subtle patterns so typical of Dashwood’s work were developed by him through experimentation at a time when there was only one option: the traditional brown. Before each piece is cast, it is moulded in plaster, then carved and painstakingly sanded, filled and sanded again. “The easy bit for me is having the idea and realising it,” says Dashwood. “But those very fine, tactile, smooth surfaces – I’ve never found a shortcut to them and that is challenging, as much as it is tedious and time-consuming.” The subject’s pose is taken from observation rather than photographs, but is based on a donated dead specimen (often fatalities caused by cats, cars or windows). However, Dashwood explains that he “doesn’t slavishly copy nature, so although I measure, I decide what to change and when and where and why”. While Dashwood’s work is widely lauded, for Packham the appreciation has another level because of his background as a zoologist. “What I can see in Geoffrey’s work may be hidden from some of the art experts because I can see the subtle nuances of the bird’s behaviour,” explains Packham. “Birds express their personality and their feelings through their body shape. Geoffrey captures all of this. I can see whether his owl is happy or sad or pensive or predatory, whether it’s about to take off, whether it has just landed. And all these emotions and behaviours are in forms that have been reduced to almost the symbolic – and that, for me, is the mark of genius.” 5CREDITS: COURTESY OF GEOFFREY DASHWOOD AND ST BARBE MUSEUM;© SOLENT NEWS & PHOTO AGENCY; ROYAL COLLECTION TRUST © HM QUEEN ELIZABETH II5 Geoffrey Dashwood, Great-crested Grebe, one of his monumental works48INTERVIEWThe Arts Society ReviewSummer 2017