​

 

The directed tasks as a volunteer in Marwood Hill garden with National Collections offer a seasonal exposure to the cycle of plants. The process of each job provides the idea and material to discover new marks and textures that suggests a specific environmental concern.

 

Cutting back the dried seed heads in the Herbaceous border provided implements to draw with ink, creating unexpected random marks. The transitory and scattered quality composed a wilderness disturbed from wind or flooding.

 

The raked up flower heads in the Camilla House released stained marks when pounded between different papers suggesting the bruising of nature. Composing coloured pastel marks into a corner as if blown by strong winds. Appleton applies a botanical drawing approach to enjoy the exquisite detail of plant form and the subtle differences specifically found in heritage collections.

 

The diptych form of display creates the distance and proximity of place. Each frame contains the detail of different surfaces and marks compared to a spacial experience together.

 

During the pandemic Appleton was consumed by nature on the Coastal path expressed in her book ‘Textile Creativity Through Nature’. In contrast the garden offers an environment created by an obsession of collecting and the transformation of place.