The Gardens Magazine Spring 2022, Issue 134

SPRING 2022 Issue 134 $9.95

INSPIRED

BY NATURE

MEET THE ARTISANS DRAWN TO THE GARDENS

DECOLONISING SCIENCE • WHAT’S ON • LIVING AUDIT • THE BLIND SEER

Correction: InourWinteredition's'SignificantTree', we noted that the 120-year-old Flindersia australis growing in the Peacehaven Botanic Park in Toowoomba, Queensland, was registered with the National Trust of Australia as the oldest in existence. The Adelaide Botanic Garden has since advised us that it boasts a Flindersia australis that wasfirstlistedintsCatalogueofPlantsin1859, making it a remarkable 163 years old.

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Photos: © Royal Botanic Gardens and Domain Trust

Himalayan Alder Alnus nepalensis This Himalayan Alder (Alnus nepalensis) at the Blue Mountains Botanic Garden Mount Tomah is known as The Wedding Tree, and it marks a special place for many people. So many important ceremonies have taken place beneath its leafy boughs over the years.

It’s remarkable to think that this tree wasonlyplantedin1992−itstrunk already measures 1.43 metres in diameter just beneath the lowest branch.

The life strategy for many species is togrowfast,butheyoftensacrifice longevity in doing so. Visitors frequently guess its age as being several hundred years. The Himalayan Alder grows between 500–3,000 metres above sea level in several countries across the Himalayan region. This accession was collected on the Burma Road in Yunnan province at 2,000 metres in altitude.

The wood of the species is not particularly strong, and breakages of small branches are common during severe weather events. Staff at the Blue Mountains Botanic Garden were concerned for the health of this specimen as, following years of drought and desiccating winds, the canopy was sparse and the tips of extended branches failed frequently. A replacement planting was even being considered at that time.

In order to improve conditions, radial trenching and the replacement of soil was undertaken to reduce the effects of compaction. Crown reduction pruning was also performed on particularly emergent parts of the canopy. It is likely that recent high rainfall has helped bring the tree into good condition, but there is also a feeling that the hard work of Garden’s staff has been rewarded as today The Wedding Tree is looking better than ever.

Antony Rivers, Senior Arborist Blue Mountains Botanic Garden

CONTENTS 10

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FEATURES 22 Decolonising science Affording

Indigenous expertise the respect and recognition it deserves 24 It’s a living thing Taking stock of a priceless genetic resource

GARDENS NEWS 9 Australian Botanic Garden Poetry in motion

16 Artisans Celebrating 21 years IN EACH ISSUE 7 Books Reviews and the chance to win 8 Travel Explore Australia with Friends 10 Cutting Edge What’s new in the

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world of botanical research?

12 Artefact Unearthing treasures from the Daniel Solander Library 14 First Person Meet Mitchell Carle, Senior Horticulturalist and avid collector 27 Plants Some tips on what to look out for this spring 30 What’s on Your guide to activities and events

On the co ver

More than 40 artists will take part in this year’s Artisans in the Gardens, including sculptor Denese Oates (right), pictured with exhibition curator Libby Wright. See story page 16.

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NEWS

SPRING UPDATE

BLUE MOUNTAINS WELCOMES NEW CURATOR MANAGER

Ashley Filipovski has embarked on the ultimate tree change.

The Blue Mountains Botanic Garden’s new Curator Manager is a man whose life has always revolved around the beach–ormespecificallythe beautiful beaches of Geelong, where most recently he was Director at the Geelong Botanic Gardens.

“In Geelong my family and I enjoyed the perfect coastal lifestyle, everything we did was at the beach,” he says. “Now we’re looking at hiking and bush walking and immersing ourselves in the Blue Mountains’ culture.

“It’s been a big move!”

Filipovski began his career as an apprentice at Geelong Botanic Gardens in 2002 and worked his way up to senior horticulturalist before leaving to pursue new opportunities.

The move saw him run his own landscaping business, then oversee all of the City of Greater Geelong’s green spaces, and eventually become responsible for managing the City’s bustling waterfront precinct.

“If something is happening in Geelong, it’s at the waterfront,” he says.

“So we had a huge number of events, and in my role I really gained insight into how to manage high-impact green spaces.”

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Eventually he found himself back at the Geelong Botanic Gardens as Director, surrounded by trees he had planted some 20 years before during his apprenticeship.

“The lockdowns were hard on a lot of people in Geelong and the Botanic Gardens needed revitalisation. We set ourselves bigger and bigger goals until 201wefinallyopenedaPacific Rim Garden and a sustainable visitor centre – which represented the largest upgrade in 20 years. It was incredibly rewarding to see the community re-engaging with the Gardens.”

He says that passion for revitalising teams and communities is what attracted him to his new role.

“The Garden is breathtaking, but as aesu r ltofthefiresandfloodsthey’ve endured, it’s clear that the Blue Mountains’ community is really in need of some revitalisation. Locals talk about how good life was before that recent devastation, and I’m hoping I can bring a fresh perspective and energy to help recapture those days.

“Re-establishing a functioning café and improving other facilities up here will be easy wins. But there is a lot of work to be done when it comes to adding to our collection, and still a lot ofcleanupwithfiredamage.Overall, we need to reassess and re-evaluate the strategic direction we follow.”

THE CALYX TO HOST BONSAI EXHIBITION

Almost 40 exquisite bonsai – including some that are more than a century old – will go on display at The Calyx in September as part of an exhibition by the Bonsai Society of Sydney.

The exhibition will include a variety of different styles, species and sizes, including mini bonsais, which take the quest for miniaturisation to another level.

Among the collection will be a Port Jackson Fig (Ficus rubiginosa) and Himalayan Cedar (Cedrus deodora), both thought to be more than 100 years old, as well as Australian native trees and rare exotic plants.

BONSAI 9–11 SEPTEMBER 2022 10AM–4PM The Calyx, Royal Botanic Garden botanicgardens.org.au/What-s-On

AGM INVITATION

Members are warmly invited to attend Foundation & Friends' 40th Annual General Meeting on Tuesday 22 November. The AGM will start at 5.30pm in The Calyx, where light refreshments will be served. The agenda will include elections for vacant Board positions and an update on achievements.

Photos: Erwin Atmadjaja, Alice Bruyn, © Royal Botanic Gardens and Domain Trust

Ashley Filipovski has recently been appointed Curator Manager at the Blue Mountains Botanic Garden

NEWS NYE EARLYBIRD TICKETS ON SALE

It’s time to start planning your New Year’s Eve, with tickets for the ever-popular Foundation & Friends’ picnic event soon to go on sale.

Overlooking Farm Cove on the picturesque Mare and Foal Lawn in the Royal Botanic Garden, guests enjoy unrivalled views of one of the world’s most spectacular fireworkdisplays.

Member-only Early Bird deals are on sale from 23 August. Priced at the discounted rate of $130 for members and$180formemberguests,the Early Bird tickets will be available until 3 October 2022. This year’s Early Bird tickets are only available to those whose membership is active before 15 August 2022.

Once the Early Bird deadline has passed, a limited number of tickets will be available at the non-discounted price of $160 for members and $190 for guests.

‘Bundle’ packages are also available, combining either individual or household membership of Foundation & Friends with tickets to the picnic. Refer to the Foundation & Friends website for details.

Members can purchase up to a total of 10 adult tickets. The self-catered picnic, which runs from 5pm to 12.15am, is perfect for all ages, and is one of the few events where BYO alcohol is permitted.

Further details are provided in the Diary pages.

CHIEF EXECUTIVE’S REPORT

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t is easy to become inspired by the wonderful Gardens.

They are such incredible places of beauty, history and connection. Each and every day you see the passion and dedication of our members, volunteers, donors and Gardens’ staff – all striving towards a stronger and more resilient environment for our amazing plants.

To support this remarkable work, over the last year Foundation & Friends worked with the Gardens to introduce a new inclusive process for our critical grant-giving. This resulted in 17 applications for funds from all operational areas of the three Gardens.

Ourfirstgrant horughthisprocess will be for a vital piece of cutting-edge equipment to support the inspiring rainforest conservation project. It is called a temperature gradient plate and will play an important role in informing how rare and precious Australian rainforest seeds are stored and germinated. We look forward to supporting many more projects like this in the future.

As we all know, our Gardens are a key source of inspiration for artists. In spring, Foundation & Friends is excited to be holding the 21st exhibition of the much-loved Artisans in the Gardens.

Starting in 2000, with just four artists

exhibiting in one small room, Artisans this year will include more than 3,000 works from more than 40 artists.

The exhibition will, in part, showcase the history of the exhibition, as well as highlight new and emerging artists that have a connection to the botanical world. I have no doubt that this will be the best Artisans yet, and I look forward to seeing many of you there.

In this 40th year for Foundation & Friends, we are reviewing our longer-term strategy and goals. This is to ensure we do the best we can to stimulate a new generation of support and engagement. To inspire more people to join us, to volunteer and to give funds to our unique three Gardens. Please keep an eye out in your email for ways to engage with this important process.

Looking to the future, many of our wonderful and generous members have let Foundation & Friends know that they have left a gift for us in their wills.

Even after taking care of family and friends, a residual gift in a will can make asignificantdifferenceto hevitalwork of the Gardens. Just this year we have beennotifiedbyanumberofmembers oftheirintention makesignificant gifts. This is truly inspiring.

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NEWS

The Art Gallery of New South Wales' expansion – better known as the Sydney Modern Project – is on course for a 3 December opening.

The $344 million transformation will feature a new building designed by Pritzker Prize-winning Japanese architects SANAA, along with landscape and civic features by award-winning American landscape architect, Kathryn Gustafson, and GGN. They are working with Australian landscape architects McGregor Coxall as part of a global project team.

Gustafson has previously worked onaseriesofhigh-profileinternational projects including the Diana, Princess of Wales Memorial Fountain in London’s Hyde Park, and Singapore's Gardens by the Bay. She has also designed the 100-hectare Eiffel Tower Park Paris, which is due for completion in 2024.

The Sydney Modern Project’s landscape designincludeseflect r ingpoolsina new civic space in front of the Gallery's historic facade. An art garden connecting the new and existing buildings will feature a major commission by Wiradjuri and Kamilaroi artist Jonathan Jones – part of the largest commissioning program in the Art Gallery's 151-year history.

According to the Gallery, the landscape design will increase the site's biodiversity and include endemic plantings to help est r oer pre-Euorpeansettlementflora to the site. On completion, it says there will be 70 per cent more trees across the expanded campus, enhancing the overall precinct.

For more information regarding the Sydney Modern Project visit artgallery.nsw.gov.au/smp Pictured above: image of the Sydney Modern Project as produced by Kazuyo Sejima + Ryue Nishizawa / SANAA

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BARA UNVEILED

The Gardens recently hosted a community picnic featuring First Nations dancers and musical performances to ar m ehtk ffici o aleivnu gnil fo bara, one of Sydney’sstom signfican i put blc i ars.krowt Located on the Tarpeian Precinct Lawn above Dubbagullee (Bennelong Point), the marble monument by award-winning Aboriginal artist Judy Watson depicts a bara(fishhok)used for thousands of years by women from the local Eora nation, traditional custodians of Gadigal Country.

The crescent-shaped artwork – commissioned by the City of Sydney as part of its Eora Journey arts program – stands at more than more than six metres tall and features a gleaming finishemr inscentoflocalseashells.

Queensland-based Watson, whose work is held in major Australian and international collections, says the monument “reimagines ancient

gathering spaces where people sat byfiresontheheadlandsandfeasted.

“Bara will provide a quiet space for cerem,ony eflect r ionandcontemplation in a busy and ever-changing city. It is inspiring and educational, beautiful and transformative.”

Speaking at the unveiling, Lord Mayor Clover Moore said the artwork was a reminder of the need to live in harmony with the land.

“Those who visit the harbour will see bara and think about our obligation to care for Country, like thewomenwhofishedinthshar bour did before us, and how our actions now impact future generations.”

Bara is part of an upcoming curated walk, Yananurala, which will share Aboriginal perspectives and stories through artworks and installations along a walking route next to the Sydney harbour foreshore, from Pirrama (Pyrmont) to Woolloomooloo.

Photos: Joseph Mayers, © Royal Botanic Gardens and Domain Trust

SYDNEY MODERN PROJECT SET FOR SUMMER OPENING

BOOKS

THE FUTURE IS FUNGI

Michael Lim and Yun Shu Thames & Hudson RRP: $49.99 Fungi, as anyone who attended Foundation & Friends' FUNGI x BOTANICA exhibition in 2021 will tell you, are spectacularly diverse, wonderfully complex, and largely a mystery to us.

This beautifully produced book provides an entertaining introduction to a hidden kingdom that helps produce many staples of modern life, including wine, chocolate, detergent and penicillin, and is now being engineered to grow meat alternatives, create new medicines, produce sustainable biomaterials, and heal our environment. Authors Michael Lim and Yun Shu focus on fungi’s past, present and potential future impact in four key areas: food, medicine, psychedelics and mental health, and environmental remediation.

In doing so, they reveal how fungi have not only formed the foundations of modern life, but how they may help shape our future. Lim, at age 21, cofounded one of Australia's largest eyewear chains and now dedicates his time to researching fungi, psychedelics, ecology and anthropology, while Shanghai-born researcher Yun Shu was exposed tohebenefitsoftraditionalChinese medicine and fungi from a young age.

FROM EARTH: CREATE YOUR OWN NATURAL APOTHECARY

Charlotte Rasmussen Rockpool Publishing RRP $32.99 Most people are well aware that nature provides an endless source of products thatbenefitourhealthandwellbeing – from herbal teas to skincare oils and remedies for a broad spectrum of ailments. The problem is knowing which ingredients are safe and effective to use.

From Earth provides an accessible and practical guide to creating your own home apothecary from scratch, with lists oftheots, r flowersandherbsyou need, and recipes detailing how they can be safely combined to create a variety of natural products, including soaps, skin moisturisers, decongestants, fragrances and shampoos. Author Charlotte Rasmussen grew up on a farm in Denmark with a mother who had an aversion to over-the-counter pharmaceuticals. Moving to Australia shefodnu diti fficubt o t l aiehtn at n al ru , organic skincare products and remedies she had used in Scandinavia, so in 2017, working from her kitchen, she successfully launched her own business, From Earth.

She has since settled in Torquay, Victoria, from where From Earth now ships products across Australia and overseas.

ADELAIDE HILLS GARDENS

Christine McCabe Thames & Hudson RRP $45.00 Author Christine McCabe, a passionate gardener and one of Australia’s leading travel writers, takes readers on a tour of 20 extraordinary gardens in the Adelaide Hills – from the historic Carrick Hill, built around a ‘Jacobethan-style’ manor house, to Tickletank, which winds its way around a repurposed 50,000-gallon concrete water tank – all beautifully captured by photographer Simon Griffiths. mongthegloriusgardens on display are those of ABC presenter Sophie Thomson, artist Morgan Allender, garden designer Steve Hailstone, and early landscape artist Hans Heysen.

McCabe’s tour provides more than simply a glimpse of some enchanting spaces, it also explores the fascinating history of the region, which has attracted everyone from hard-living loggers to Adelaide’s elite, who built charming summerhouses to escape the heat of the plains. And it describes how the region’s many gardens have evolved and adapted, with an early attraction to English staples such as oak, elm and ash, giving way in modern times to climatecompatible plantings better able to cope with hotter and drier summers.

YOUR CHANCE TO WIN A BOOK

Foundation & Friends has a few copies to give away of the books featured above. To be in the running to win, just email foundation.friends@botanicgardens.nsw.gov.au or write to Letters, Foundation & Friends, Cottage 6, Mrs Macquaries Rd, Sydney NSW 2000 by 15 September.

Be sure to include your contact details and which book you would like to receive. In our Winter 2022 edition we gave members the chance to win A History of Australian Bird Art (Penny Olsen), Guide to Native Orchids of NSW and ACT (Lachlan M. Copeland, Gary N. Backhouse), and Nature Style: Cultivating Wellbeing at Home with Plants (Alana Langan, Jacqui Vidal). Congratulations to our winners Virginia Coote, Stan McDonald, Lyn Forbes, Christine Clancy and Susan Young.

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TRAVEL

TRAVEL WITH FRIENDS FOUNDATION & FRIENDS’ LATEST TOURS PROGRAM EXPLORES SOME OF AUSTRALIA’S MOST SPECTACULAR REGIONS. MEANWHILE, WITH INTERNATIONAL TRAVEL BACK ON THE AGENDA, PLANS ARE AFOOT FOR AN EXCURSION TO BEAUTIFUL JAPAN.

GARDENS OF THE BLUE MOUNTAINS & CENTRAL WEST

26 October–1 November 2022 Grade: Introductory* Accommodation: six nights Explore some spectacular gardens of the region. Highlights include a special supper and wine tasting at Bishop's Estate, the Bathurst Spring Spectacular and a visit to host Mary Moody’s own garden in Blackheath.

Member price: $4,195pp twin share (land content only) Escort: Former ABC Gardening Australia presenter Mary Moody.

Hirosaki Castle

Tasmanian Waratah

GARDENS AND NATURAL LANDSCAPES OF TASMANIA

18–26 November 2022 Grade: Introductory* Accommodation: eight nights Visit exquisite gardens and national parks, as well as fascinating historic buildings. The tour incorporates guided walks around Cradle Mountain-Lake St Clair National Park.

Full updated itinerary is now available.

Bookings close 5 September 2022 Member price: $5,995pp twin share (land content only) Escort: Author, artist and Botanic Garden’s guide Sandy Pratten.

CERAMICS & TEA CULTURE JAPAN

May 2024 The tour itinerary is being designed around private potters’ houses and studios, galleries and tea farms with our resident Japanophile, Relle Mott.

Further itinerary details in this sureto-be-popular tour will be available soon. Register your interest now.

Walking the Larapinta Trail

CENTRAL AUSTRALIA

6–14 May 2023 Grade: Moderate* Accommodation: eight nights Led by Relle Mott, a former member of the Royal Botanic Garden Sydney's education team, this journey will feature a trek along the ancient landscape of the West MacDonnell Ranges on the Larapinta Trail, staying in award-winning eco-comfort camps.

It will also visit intriguing desert parks and botanic gardens.

Bookings close 6 November 2022 Member price: $4,690pp twin share (land content only)

Members can book these tours with confidence,thankstoaflexible cancellation policy and COVID safety measures, such as extra cleaning and hygiene protocols. Some venture to remote areas, which means social distancing comes naturally, and the guided group sizes are limited to a maximum of 16 people. For more information or to book please contact us at foundation.friends@ botanicgardens.nsw.gov.au

*Theseadventues r arenotsuitableforpeoplewithlmedmobi.Thlity eyaredesignedforparticipantswithaeaso r nableleveloffitness and competent swimming ability. Some days may be quite active and involve steep walks. Prepare with some regular moderate exercise.

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Photos: World Expeditions, Tawfik Elgazzar, © Royal Botanic Gardens and Domain Trust

Woodgreen garden in Bilpin

IN FOCUS: AUSTRALIAN BOTANIC GARDEN

NURTURING A

LOVE OF WORDS I

t’s hard to imagine a better place than a poem forest in which to inspire children to write about nature.

With that in mind, the Australian Botanic Garden Mount Annan and Red Room Poetry recently joined forces to provide local school students with a series of nature writing workshops in the Garden's enchanting Poem Forest.

Launched in 2021, the forest is being gradually planted in the heart of the Garden on a site that includes remnants of the critically endangered Cumberland Plain Woodland and Western Sydney Dry Rainforest – ecosystems that provide important havens for native wildlife. By removing invasive weeds and planting new trees, the project is helping to restore biodiversity, while encouraging cultural connections across various communities.

The Poem Forest is set on the traditional land of the Dharawal people and as students arrived for the workshops they were greeted with a smoking ceremony conducted by Uncle Ivan and Uncle Eddie, who also spent time talking about Country.

First Nations poets Aunty Verna Barker, Luke Patterson, Kirli Saunders and Lyndsay Urquhart then taught the children about poetic techniques and how to use them in their own writing, while the Garden’s education team also provided hands-on lessons on native plants.

As the workshops drew to a close, studentstok imetoeflect r ontheir learning and write an original poem, which they were invited to submit for the annual Poem Forest competition.

For every poem received, Poem Forest plants a tree – allowing students to take positive climate action while having their thoughts on the environment heard. Last year more than 5,000 seedlings were planted, including native eucalypt, Acacia (wattle) and angophora, as well as Melaleuca styphelioides (Prickly Paperbark) and Melia azedarach (White Cedar).

The project aims to plant 22,000 trees within three years, all of which will be grown in the Garden's nursery from seed that has been wild-collected and stored in the Australian PlantBank.

“Poem Forest enables students to take positive climate action”

THE POEM FOREST PRIZE

Students, teachers and communities have until 23 September to submit entries for this year’s Poem Forest competition, with the winners set to be announced in November.

Unveiled in 2021, the annual competition invites young people to create poems inspired by the natural environment. For every poem received, a native tree is planted in the Australian Botanic Garden, creating a Poem Forest for future generations.

All Poem Forest entries go in the running for a range of prizes valued at more than $5,000, including cash, book packs, Garden tours, trees and publication opportunities.

The entries are also published on the digital POEM FOREST on Red Room Poetry’s website, which reaches a worldwide audience of more than 550,000 readers.

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RESEARCH Acacia pycnantha

THE CUTTING EDGE RESEARCHERS WORKING WITH THE AUSTRALIAN INSTITUTE OF BOTANICAL SCIENCE PUBLISH MORE THAN 90 PEER-REVIEWED ARTICLES EACH YEAR. PROFESSOR BRETT SUMMERELL HIGHLIGHTS A FEW RECENT PROJECTS.

A consortium of authors1 – including our own Senior Principal Research Scientist, Dr Cathy Offord – recently examined the contribution that living collections and seed banks based in botanic gardens around the world make to wild plant conservation and to tackling global challenges.

They focused on the advantages and limitations of conservation of plant diversity as both living material and seed collections, and the need for additional research and conservation measures, such as cryopreservation, to enable the long-term conservation of ‘exceptional species’ (such as rainforest speciesch ihw aredifficuseed otl ban). k In particular, they highlighted the importance of networks and sharing data and plant material.

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The skill sets found within botanic gardens and seed banks complement each other and enable the development of integrated conservation (linking in situ and ex situ efforts). The authors demonstrated how botanic gardens and seed banks support integrated conservation and research for agriculture and food security, restoration and reforestation, as well as supporting local livelihoods.

They concluded that botanic gardens and seed banks are well placed to respond to the biodiversity crises, but their conservation efforts need to be massively scaled up and supported by long-term funding.

In addition, activities need to be coordinated across institutions, sectors (government agencies, universities, NGOs, etc.), geographies, and political and cultural boundaries.

GENOMIC INSIGHT INTO INDIGENOUS DISPERSALS

Over millennia, Indigenous peoples have dispersed seeds (and other propagules) of non-crop plants through trade, seasonal migration or attending ceremonies. In the process, they have potentially increased the geographic range and abundance of many food species around the world.

Scientists are now exploring how genomic data might be used to reconstruct how and when this dispersal happened. This research will further highlight the importance of Indigenous people in moving plant species and the importance of plants in their cultures.

In an important new paper2, Macquarie University PhD student Monica Fahey and colleagues sought to develop a simple and cost-effective strategy to screen out Australian

Photos: Dr Russell Barrett, © Royal Botanic Gardens and Domain Trust

PLANT DIVERSITY CONSERVATION CHALLENGES

RESEARCH

‘The conservation efforts [of botanic gardens and seed banks] need to be massively scaled up’

species with genomic patterns consistent with long-term widespread dispersal by humans and animals.

Their strategy also aimed to identify “candidate” species in rainforests that show dispersal signals consistent with spread by Indigenous people.

Large-seeded rainforest species often evolved with now-extinct megafauna, and hence current distribution patterns ay m eierht eflect r ack l fo dispersal, or dispersal patterns consistent with human intervention. Some of the key characteristics of spread by Indigenous people are that large-seeded rainforest species generally have greater betweenpopulation genomic divergence and occupy smaller geographic ranges than their small-fruited counterparts. This can be used as a screening strategy that employs simple genomic tests to identify signals of dispersal within long-lived non-crop plant species that may be attributed to Indigenous peoples.

The paper’s authors sought to est vni gat i eethw erh fleshfr-y ed tiu species with a known history of Indigenous use carry genomic patterns that are distinctive from expected signatures of widespread faunal dispersal. Their study den i fied it severalai r fon est r speciesat ht warrant further investigation.

EVOLUTION OF ACACIA LEAF ADAPTATIONS

In Acacia, 90% of species have droughttolerant phyllodes as their adult foliage, with the remaining species having bipinnate leaves. This high preponderance of phyllodes is thought to be an adaptation to the drying of Australia as it moved north during the break-up of Gondwana and a response to the low nutrient soils occurring in most parts of the Acacia’s range.

Most Acacia species (commonly known as Wattle) start off producing bipinnate leaves as juveniles, but this changes quickly as they mature – an

indication that bipinnate leaves was an ancestral state as is similar in many plants in the pea family.

The question posed in a recent paper3

by Dr Matt Renner and co-authors from the University of Sydney, Royal Botanic Gardens Victoria and the Global Biodiversity Information Facility in Denmark, is whether the 10% of species that have bipinnate leaves eflect r theancestralstateorwhether they have re-evolved in response to wetter environments.

Analysis suggests that the most recent common ancestor of Acacia had phyllodes as their adult foliage, and the transition to phyllodes preceded the radiation (i.e., the spread into new habitats) of Acacia.

Most ancestral nodes inferred as having bipinnate adult foliage had median age estimates of less than fiveear ynoil m s(Ma),al h fav h gni ages between 3 Ma and 1.5 Ma. Acacia lineages with bipinnate adult foage il dierv sifieddugnir eht Plcen oi e, perhaps in response to wetter climatic conditions experienced by the continental margin during this period.

These results indicate that some species of wattle have indeed re-evolved bipinnate leaves in response to environmental conditions, which highlights the great adaptability of wattles. Such features may be important in a changing environment.

Glossary Phyllodes:Phylodesaremodifiedleaf stalks (or stems), which are leaf-like in appearance and function. In some plants (e.g., many wattles) they can becomeflattenedandwidened,while the leaf itself is reduced or disappears, and as a result the phyllode serves the purpose of the leaf.

Bipinnate: The term pinnation derives from the Latin word pinna meaning 'feather'. In botany, pinnation refers to an arrangement of structures (such as leaflets,branchesorlbes)atmultiple points along a common axis. It's a feature seen in many palms, cycads and grevilleas. A bipinnate leaf is one inwhchtheleafletsthemselvesare further subdivided in a pinnate fashion.

A selection of Acacia species (photographed by the Gardens' Systematic Botanist Dr Russell Barrett), showing variation in shoot, flower, phyllode and leaf morphology, not to scale.

Clockwise from top left: A. buxifolia, A. varia, A. dimorpha, A. humifusa, A. platycarpa, A. coolgardiensis, A. translucens, A. paradoxa, A. gunnii, A. deltoidea. Bipinnate adult foliage illustrated in top right, others phyllodinous.

Paper details: 1. Elinor Breman, Daniel Ballesteros, Elena CastilloLorenzo, Christopher Cockel, John Dickie, Aisyah Faruk, Katherine O’Donnell, Catherine A. Offord, Samuel Pironon, Suzanne Sharrock and Tiziana Ulian (2021) Plant Diversity Conservation Challenges and Prospects—The Perspective of Botanic Gardens and the Millennium Seed Bank. Plants 2021, 10, 2371. doi.org/10.3390/plants10112371.

2. Monica Fahey, Maurizio Rossetto, Emilie Ens and Andrew Ford (2022) Genomic Screening to Identify Food Trees Potentially Dispersed by Precolonial Indigenous Peoples. Genes 2022, 13, 476. doi.org/10.3390/genes13030476.

3. Matt A. M. Renner, Charles S. P. Foster, Joseph T. Miller and Daniel J. Murphy (2021) Phyllodes and bipinnate leaves of Acacia exhibit contemporary continental-scale environmental correlation and evolutionary transition-rate heterogeneity.

Australian Systematic Botany, 2021, 34, 595–608. doi.org/10.1071/SB21009.

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ARTEFACT

THE BLIND SEER OF AMBON

T

he German botanist Georg Eberhard Rumphius devoted his life to the sober study of the natural history of Indonesia, but his personal story was nothing short of a sensational drama, punctuated by ill fortune, wild adventure and heartbreaking tragedy.

Born and raised in Hanau, near Frankfurt am Main, Rumphius received a classical education and learned German and Dutch. Seeking to experience the wider world – and escape a Germany torn apart by the devastating Thirty Years' War−hesignedupwitheDutch West India Company and in 1646 boarded the ominous sounding The Black Raven, headed for Brazil. The vessel was promptly shipwrecked, and Rumphius was captured by the Portuguese, who held him as a prisoner for three years.

In 1652 he joined the Dutch East India Company military as midshipman and arrived in Batavia (Jakarta) in July 1653, from where he was posted to the Ambon archipelago (part of the Moluccas) in the

‘The vessel carrying the manuscript was attacked and sunk by a French privateer’ 12 THE GARDENS SPRING 2022

east of Indonesia, as an engineer and junior fficer. ftertransferringto he Company’s civilian branch, he rose rapidly through the ranks and by 1666 was ‘secunde’, directly answering to the governor-general in Batavia.

Rumphius married a local woman, Suzanna, and became fascinated with the natural history of these famed Spice Islands, developing such knowledge of Amboina (Ambon) that the governor-general, a patron of the

Durian

sciences,waivedRumphius'official duties to enable him to concentrate on his studies.

Despite the distance, Rumphius sent to Holland for botanical reference works and communicated with many European scientists and noble patrons such as the Medici in Tuscany. He also embarked on his magnum opus, the Het Amboinsche kruidboek or Herbarium Amboinense, a catalogue of the plants of Amboina, and over a 30-year period compiled six volumes on the island’s natural history.

Considering the challenges Herbarium Amboinense had to overcome, it is a wonder that this remarkable work was ever published. For a start, Rumphius lost his sight in 1670 to glaucoma. The unflappablenaturalistcontiuedhiswork with the aid of his wife, who would consult with the women of Amboina and acquire from them ethnobotanical information they would not convey to a man. Then in 1674 Suzanna and one of his daughters were killed by a wall collapse during an earthquake and tsunami.

Rumphius pushed on, and 13 years later, with the ill-fated publication almost complete,agreatfiredestoyed r his library, numerous manuscripts, original illustrations for the Herbarium, and many priceless reference works. Finally, in 1690 Rumphius sent his completed manuscripts to Holland for publication, only for the vessel carrying it to be attacked and sunk by a French privateer.

Photos: © Royal Botanic Gardens and Domain Trust

AMONG THE DANIEL SOLANDER LIBRARY’S MANY RARE BOOKS IS A SIX-VOLUME WORK WITH A BACKSTORY THAT ALMOST DEFIES BELIEF. MIGUEL GARCIA REPORTS.

ARTEFACT Georg Rumphius

The indefatigable fellow refused to see his life’s work lost. With the help of his surviving daughters, he was able to start over from a copy retained by the Dutch governor, Johannes Camphuys, an amateur astronomer, who had personally reviewed the manuscript and ordered a copy made for safe keeping.

Finally, the completed manuscript was despatched and arrived safely in the Netherlands in 1696. The East India Company, however, decided that the information it contained was so

‘It is estimated that less than 30 complete sets of Herbarium Amboinense exist in the world today’

commercially sensitive that it would be better not to publish it. Rumphius died in 1702, never having seen his work in print.

In 1704, the Company lifted the embargo and the six volume Herbarium Amboinense was eventually published in 1741, 39 years after Rumphius' death, in a Latin translation by Johannes Burman (1707–79).

Rumphius’ work covers 1,200 species, 309 defin htiw eti speciesam n es,and anerhto 140den i fied it gen ot su level.

It also provides illustrations and

descriptions for nomenclature types for 350 plants. Among the many species described is the Upas or ‘Poison Tree’ (Antiaris toxicaria), which was notorious for its toxic latex, apparently causing blindness and even death. Another species was the ‘Horseradish Tree’ (Moringa oleifera), the source of ‘ben oil’, which was used as a lubricant in watches and clocks. Other important economic trees described included the Clove, Starfruit and Durian. Rumphius was alsothefirstEuorpeantodiscoverthe function of the pitchers in pitcher plants and that mosquitoes bred in their pools.

The Herbarium Amboinense provided thebasisforallfutuer studyoftheflora of the Moluccas and contributed to the development of Linnaeus’s botanical classificationsystem.Rumphius’work is still referred to today.

It is estimated that less than 30 complete sets of Herbarium Amboinense exist in the world today, with one complete set recently advertised for approximately US$30,000. One of those complete sets sits among the Daniel Solander Library’s collection of rare books, alongside a modern English translation. All of the Library’s six volumes are in excellent condition, with beautiful images and clear text with little or no foxing.

Like many of the early works acquired dugnir ar hC es l e’s roM diect r shro pi (1848 –1896),sit cl nu earexactenhwro yl it came into the Gardens’ possession.

Evidence suggests, however, that it was part of the deceased estate of the famous British botanist Aylmer Bourke Lambert, whose signature can be found ehtno frentno dpaperfo eht firste.mulov Foundation & Friends’ members are welcome to visit the Library to view the Herbarium Amboinense. Contact theofficeifyouw ldliketoarrange a viewing.

THE GARDENS SPRING 2022 13

Photos: © Royal Botanic Gardens and Domain Trust

FIRST PERSON

14 THE GARDENS SPRING 2022

FIRST PERSON

MITCHELL CARLE

SENIOR HORTICULTURALIST, NURSERY, BLUE MOUNTAINS BOTANIC GARDEN

What are your key responsibilities?

I am usually the horticulturist in charge of the Brunet Garden. Over the past three and a half years, I have been developing the daffodil display in the Brunet Meadow, have created a new woodland garden at the bottom of the Garden and have been expanding and caring for the puya display. At the moment I am the senior horticulturist in the nursery, where I have been working with our potted rare camellia collection, improving on the nursery’s infrastructure and safety, as well as propagating important accessions from our collection.

What first got you interested in plants and how did it lead to a career in the field?

I was lucky enough to grow up with parents who were plant collectors.

My dad is an ex-staff member of the Blue Mountain Botanic Garden, my mum has always had a green thumb, and I started gardening when I was 10.

Myfirsteal r plant collection comprised sempervivums, and I amassed a potted collection of hundreds of the plants when I was in my teens. Once I knew I had a love of these plants, applying for an apprenticeship at the Blue Mountains Botanic Garden was the only thing I wanted to do.

Tell us about your career prior to your current role?

Since I left school in 1999 I’ve worked in a range of roles across the Royal Botanic Garden Sydney, Domain and Blue Mountains Botanic Garden. As a result, I have a broad skill set and a wide knowledge base, and thanks to my varied experienceIfinditeasytoadaptto differencu itroh al rutl setgs nit fr− ymo work in the nursery to networking with other plant experts. On a recent trip to

northern New South Wales collecting rare tropical camellias, I ran into a botanist who specialises in rare tropical trees and found myself discussing our shared love of plants such as Tabebuia and Campomanesia.

What has been the highlight of your work? fterIfinishedmyapprenticeship, I did a secondment at Kew Gardens in the hardy display/alpine unit. I was the bulb assistant, working with the largest potted bulb collection in the world. I was at Kew for a year and a half, and during that time I worked with some of the rarest potted collections in the world, and with authorities focused on such species as woodland plants and alpine desert plants. The secondment opened the door to a whole host of amazing experiences such as sitting in on Royal Horticultural Society plant selection panels and being an ambassador for Kew at other botanic gardens and institutes across Europe. I still use the skills and impart the knowledge I gained in this role on colleagues.

What is your favourite plant or section in the Garden? What makes it so special?

My favourite plants would have to be our potted camellia collection in the nursery glasshouses. I appreciate their beautiful scarlet new-foliage, unusual shapedandyellowflowers,andtheir rarity in the horticultural world.

When you are not working, what do you like to do?

I collect camellias, predominantly from the humid rainforest areas of Vietnam, and have been establishing them in the rainforest section behind my house.

I also collect unusual species of fruit trees, which grow very well where I live. These include things like Pouteria

lucuma, Duguetia lanceolata and Eugenia victoriana, which are extremely rare in cultivation in Australia and have striking foliage, and in some cases large colourful fruit. Duguetia, in particular, has a scarlet-red, large, custard-applelike fruit that tastes like sweet carrot.

I also collect botanical etchings and lithographs, and I’m a mineral collector withaspecificinterestinBorkenHil localities. One of my favourite mineral groups to collect is pseudomorphs* and the pride and joy of my collection is an array of famous Goethite coating Cerussite after Anglesite. In my life I’ve also collected Australian native scorpions, Australian native soft-billed birds, and cichlids(afreshwaterfish)fromLake Tanganyika, which lived in a purposebuilt aquarium in a shed at my parents’ place. Currently I’m focused on tropical yellow-floweringcamelliasandputing together a collection of Higo camellias.

How does your partner feel about your collections?

My partner Rebecca is a keen gardener, so the camellias are something for us to enjoy together, but she thinks the minerals are funny because they all look the same. It is a bit of a niche collection because the value and interest is in the transformation the mineral has undergone over its lifetime, not necessarily what it looks like. Many are one-off occurrences in the mines from which they came, and only a certain number of specimens were ever eco r veredandscientificallydescribed from these small pockets alone.

*minerals formed by one substance chemically or structurally changing into another, while still retaining their original external shape.

THE GARDENS SPRING 2022 15

EXHIBITION

CARVING A PATH TO

ARTISANS 2022 AN ALLURING COLLECTION OF OLD FRIENDS AND EMERGING TALENTS WILL COME TOGETHER THIS YEAR TO CELEBRATE ARTISANS IN THE GARDENS’ 21ST BIRTHDAY. SUE WANNAN REPORTS.

16 THE GARDENS SPRING 2022

“At this moment, we‘re still planning what we’ll put there, the lighting, those sorts of things. We might not get to the peak this year, but it’s a wonderful way of linking Garden elements, so people can learn a little more about what’s going on.”

As always, helping people understand and engage with “what’s going on” in the Gardens is an important facet of Foundation & Friends’ mission.

Exhibition Project Manager, Julia Sparkes, says Artisans not only brings people to the Garden, it also gives them an opportunity to “take a bit of the Garden home with them.” “nditoffersart hateflect r s the gardens in an amazing and incredible but also accessible way,” says Sparkes.

“Money that Foundation & Friends raises goes back to the Gardens, and over the years we’ve donated millions of dollars to support projects such as the digitisation of Herbarium specimens and The Calyx. Being able to raise a couple of hundred thousand dollars in nine days through Artisans is pretty incredible.”

ARTISANS ACTIVITIES

Artisans in the Gardens exhibition will feature demonstrations, classes and events, including: an art class with Araceli Adams, who runs a ceramics studio, Casa Adams Fine Wares, and also makes one-of-a-kind ceramics a not-to-be-missed Artisans Spring Walk High Tea on Saturday 29 October (2pm–3.30pm) featuring a sumptuous and carefully curated menu a ceramic art class with Isabella Edwards, with a focus on creating artwork based on favourite places and memories morning and afternoon tea with Artisans curator Libby Wright Growing Friends extended hours, Sat 29 October–Sun 6 November, 10am–4pm (Sat–Sun) & 11am–2pm (Mon–Fri).

For more information, see this issue’s Diary, page 30.

Photos: Anna Hay, Greg Piper, © Royal Botanic Gardens and Domain Trust

E

very year Artisans in the Gardens ogan r iserssetoutnadifficult task−toexpandorenhance in some way an already immensely successful and popular exhibition.

Every year, without fail, they deliver.

This year’s innovation is a sculpture walk, running from the back of Growing Friends Plant Sales, through the normally inaccessible Stone Yard to Lion Gate Lodge, where Artisans is held.

“People can make a day of it,” says Libby Wright, Artisans’ new curator in this its 21st year. “They can admire the gardens, visit the always popular Growing Friends, stroll along the sculpture walk, lunch at Lion Gate Lodge, and spend time in our rooms and garden.”

In preparation, the Garden’s staff are already clearing out the area along the walk, making it suitable for some large, impressive works.

“For instance, Maria Fernanda Cardoso is submitting a series of six carved sandstone rocks,” says Wright.

“It’s a real coup having someone of her calibre at Artisans(seepage18foe). rom

EXHIBITION Denese Oates

Sharon Weller

Marthess Harrington

Serena Owen

Asahi So

Niharika Hukku

THE GARDENS SPRING 2022 17

EXHIBITION Sharon Peoples' gardening gloves

MEET THE ARTISTS Artisans in the Gardens always aims to entice art lovers with works that delight and surprise, and curator Libby Wright believes this year’s exhibition will once again exceed expectations.

“We have 44 artists showing all sorts of work: textiles, ceramics, jewellers, a glassmaker, sculptors, indoors and outdoors, from the tiny tohemagnificent,”saysWright.

“We always say, we’ve got something from $20 to $20,000.

“Because it’s our 21st year, we’d hoped to get 21 artists who’d been with us before, one from each year. Getting one from each year proved not to be possible, but we do have 21 who’ve shown with us before.

“It’s a very vibrant exhibition, with lots of colour.”

Following is just a small selection of the artists invited to take part in this year’s exhibition.

Maria Fernanda Cardoso

18 THE GARDENS SPRING 2022

THE ‘COUP’

Maria Fernanda Cardoso is one of Australia’s most celebrated contemporary artists. Foundation & Friends’ members have probably seen her 11-storey-high mural, Ripples & Droplets, on the side of 116 Bathurst St in Sydney, or perhaps The Tree of Life in the foyer atrium at Westmead hospital, While I Live I will Grow in Green Square in Sydney, or more recently, the 110cm-long and 550kg sandstone Pollen outside the new National Herbarium of New South Wales at the Australian Botanic Garden.

Her bibliography requires 12 closelyspaced pages, involving print, radio and exhibitions literature, covering Australia, Colombia (where she was born), the United States and the United Kingdom –andat ht ’sstuj eht ast l 18s.htnom Cardoso says she is fascinated by the natural geometry of the world, and growth and form in nature.

Photos: Edward Mulvihill, Spencer K Phung, © Royal Botanic Gardens and Domain Trust

‘We have 44 artists showing all sorts of work’

EXHIBITION Sharon Peoples

PROVEN PERFORMER

Sydney-based sculptor Denese Oates has been exhibiting for more than 30 yearsandthisyearwilmarkherfifth appearance at Artisans in the Gardens.

In 2017 her sculptures formed a topiary series on the lawn, with several rounded forms of copper wire, all intertwined like vines, sitting on top of each other in a big stack.

“My new work is trees,” says Oates.

“Copper lends itself to them, the vines and trunks and branches and leaves.

The main one I’m showing is what I call a mystery tree, not based on any particular tree, just out of my head.

“There’ll also be several smaller free-standing works, all based on or inspired by nature, as my work always is.”

Oates’ art school major was in painting, but she says her works had “a 3D aspect, coming out of the canvas.

“I switched to handmade paper, which allowed me to work in even deeper relief, but I still kept wanting to come out further from the surface.

Then I saw an inspirational show in delaide−metalfurnituedoneby artists−andIwasblownaway.Istarted working in metal and loved it.

“I work in an old produce barn next to my house. It can be sparky and hot and dirty when I work with oxy acetylene doing the silver soldering to join the copper. And quite noisy at times when I’m angle grinding. But I love it.”

INNOVATIVE ACADEMIC

Dr Sharon Peoples is a mild anomaly in the artist world. She has a PhD in art history and for 20 years has worked as a university academic and an artist.

Peoples has exhibited widely in Australia and overseas, and her work is included in national and state institutions. Her pieces at Artisans 2022 are an eye-catching series of spades and shovels with working handles but embroidered spade components, and gardening gloves made of embroidery.

After initially studying interior design, Peoples married and raised a family, then returned to art school to complete a masters using embroidery. That lead to a PhD and a career in academia.

“In about 2016/17 I just let [academia] all go and worked solidly on my art career,” she says.

“During COVID I was gardening and looking at my old gardening gloves. Being an embroiderer, I’ve always had to protect my hands. I also researched gloves, where the word comes from, how they were used in the past – in Elizabethan times, for instance, they were an important gift.

“I thought about that, and about gardens – my own, and the local bush reserves and national parks – they’re all essentially gardens, they’re looked after, things are weeded out, cared for. And I started to apply the imagery from those gardens onto gloves.

“I’ve had a long association with gardens. For me, they’re spaces of retreat, of inner life. The shovels, thetorwels,thegloveseflect r the physical and mental labour that are required of gardens.”

Denese Oates

THE GARDENS SPRING 2022 19

EXHIBITION

EDGY AND PASSIONATE

Niharika Hukku is a ceramics artist who will this year take part in her third Artisans exhibition, contributing some eye-catching bowls that feature swimngfish.

“Like looking into a little pond that you can hold,” Hukku says. “Also, birds that I have photographed in my garden. And plants... a little garden inside, almost like they’re growing on top of the ceramic.

“My work is an expression of what I findelegantandbeautifulinmyword.”

Hukku – who was born in India and has lived in Indonesia, Singapore and New Zealand – has exhibited in various galleries and her work is held in private collections as well as in the Gold Coast Gallery in Queensland.

“I started painting on ceramics because I was looking at the sky and thinking it is so blue – how can I capture that? It’s so hard to get that colour. Living in different countries you always assume the sky is blue, but when you move to Australia it’s a very differentblue,almostfluoescen r t. I wanted to bring it inside the house. “ndIlovefish,buthowcanIkeep them alive forever? How can I capture the light and the play of light, the movement, and keep it near me to stay with me forever?

“Thingsarefleeting,almostmoving, ever changing…”

20 THE GARDENS SPRING 2022

EVOLVING TALENT

Asahi So works with ceramics and wire, and at Artisans this year will exhibit pod-inspired bud vases, ceramic floral-workdomes,podandseedheadinspired sculptures, and a series of botanical “scenes” consisting of stylised seedheads, buds and blooms presented under glass domes.

Sointallyworkedasafloristbut became concerned about sustainability issuesinflorist,ry suchasthe “heartbreaking” waste associated witheventflowers,andthepractice of bleaching, dying and chemically preservingflowers.

On a whim, he did a part-time ceramics course at Hornsby TAFE, which eventually led to an advanced diploma in ceramics.

“My work is an attempt to capture

something of the ephemeral nature of living plants and render it permanent,” says So. “I don’t try to recreate individual speciesbuak t eelemenst andfluni ences from a range of plants, reinterpreting and recombining them. I hope to intrigue and delight people by presenting familiar elements in ways not found in nature, giving them a new context.

“I use a variety of techniques… for the work that combines ceramic components with wire, I use a technique called knotless netting, where the wire structure is formed one loop at a time, by hand.

“Because I work with wire as well – not many people are working as I do, to my knowledge – it's caught people’s eye and enabled me to get my work out there.”

Niharika Hukku

Photos: Alexandra Mantoura, © Royal Botanic Gardens and Domain Trust

Asahi So

EXHIBITION Isabella Edwards

UP AND COMING

Isabella Edwards is only in her 20s, recently graduated with a masters from the National Art School, and is someone you should keep your eye on.

She exhibited in Artisans last year but says this year’s work will “be a lot more grounded, more urban.

“Last year was about fantasy, we were stuck in lockdown, I was painting from books. This year I’ve been out and about, taking photos, painting from that.

“The main thing that draws me is light. I’m fascinated by backlighting and watching the light stream through trees.

My work could also be based around what was happening when I was in that place, maybe having a bad day, but getting off the train to a beautiful sunset.”

Edwards says she shares many of the sentiments that began with Impressionism.

“I have a great love of the everyday.

It’s very special. I really disagree with the statement that small things amuse small minds – if you can’t be amused by small things, almost nothing in life is going to make you happy.

“Last year being in Artisans was important to me because there were no shows happening, and Artisans was a big highlight. It was such a boost to myconfidence.Idon’tknowifithelped my career in the traditional sense, but it helped me stick to my career.”

29 OCTOBER – 6 NOVEMBER, 10AM– 4PM Lion Gate Lodge, Royal Botanic Garden Sydney Entry is free, and all works will be for sale, with commission going towards a range of programs across the Botanic Gardens.

OPENING NIGHT, FRIDAY 28 OCTOBER, 6PM–8PM

Join us at this year’s opening night, during which you’ll have a chance to browse and purchase artworks before the doors open to the general public. The ticketed event will also provide an opportunity to meet this year’s artists and curator Libby Wright, while enjoying a glass of wine and some delicious canapés in historic Lion Gate Lodge.

Tickets cost $65 for members and $75 for non-members.

To purchase tickets visit botanicgardens.org.au/What-s-On

THE GARDENS SPRING 2022 21

BOTANICAL SCIENCE

DECOLONISING SCIENCE EFFORTS ARE UNDERWAY FOR THE BOTANICAL WORLD TO BETTER ACKNOWLEDGE AND EMBRACE THE VAST KNOWLEDGE OF AUSTRALIA'S INDIGENOUS PEOPLE. PROFESSOR BRETT SUMMERELL, CHIEF SCIENTIST AND DIRECTOR RESEARCH, REPORTS.

Views of Bunya Pines

22 THE GARDENS SPRING 2022

of the trees – probably facilitated by extreme weather conditions and fluctuationsoverthatperiodoftime.

Bunya Pines are amazing trees.

Some of the mature specimens at the national park are a metre wide, 40–50 metres high and estimated at between 500and800yearsold.

They are a relic of Gondwanan times, with close relatives preserved in the fossil records from the Mesozoic era (252 to 66 million years ago) and recovered from as farafieldasSouth mericaandEuorpe.

To see such beautiful trees devastated by this disease is heart breaking and it mirrors similar issues in the North Island of New Zealand with kauri dieback, in Chile with dieback of Monkey Puzzle Pine (Araucaria araucana), and of course

with the Wollemi Pine in New South Wales. In all cases it is a situation where an exotic pathogen is introduced by humans and then proceeds to attack a plant species that has limited capability figh ot back t .

All of these species are members of the Araucariaceae – a type of conifer (although not a true pine) that was once distributed widely around the world but is now restricted to Australia, NewZealand,partsofthePacific islands and South America (especially Chile). These trees were a major part of Australia's forests in wetter times.

Bunya Pines have enormous cultural significanceto boriginalpeople– particularly to the Wakka Wakka people within whose land the Bunya Mountains

Photos: Alamy, © Royal Botanic Gardens and Domain Trust

R

ecently I had the great experience to travel around 200 kilometres north-west of Brisbane to the last storngholdofthemagnificentBunya Pine (Araucaria bidwillii), which was once widespread across southeast Queensland but is now greatly reduced due to logging and land clearing.

Unfortunately, I was there because of a disease in this species, bunya dieback, which is associated with the presence of a species of Phytophthora (Phytophthora multivora) that has killed a number of trees in the national park. It appears that this pathogen, which is believed to have originated in South Africa, was introduced into the park in the past two decades and has slowly spread and attacked the root system

BOTANICAL SCIENCE National Park resides. I was fortunate enough to meet with the Indigenous rangers there to talk about the impact of the disease, the options for management and to better understand thisdeepculturalsignificance.

Over summer, Bunya Pines drop huge cones which contain edible seeds. Heavy crops of the nuts occur roughly every three years, depending on environmental conditions and the age and health of the trees. For hundreds and thousands of years, large groups of Aboriginal people gathered at the Bunya Mountains to take part in bunya festivals, coinciding with the production of the nuts.

Aboriginal people of the Bunya Mountains invited people from around theegi r onandfromfurtherafield to join these gatherings. The bunya festivals were times for ceremonies, sharing ideas and revitalising spirituality.

Sadly, the expansion of European settlements, along with increased logging activity and clearing for grazing and farming, disrupted the large gatherings, and heavily impacted the Bunya Pines, reducing their distribution.

As a result, the protection of these trees andtheirculturalsignificanceiseven more important now.

Recently I have been contemplating the colonial legacy of organisations like botanic gardens and how we might bettereflect r theenormussignificance of plants to Aboriginal people in everything we do as an organisation.

Wheneht ar G denas w firstestablshi ed in1816therewasapresumption that there was no knowledge about ustralianfloraandtherewasavoidin which to document knowledge about plans.t Thsi si eflect r edplwohni anst are am n ed,bosci ht enfical it ,yl anda ot esser l extent in their common names.

Of course, nothing could be further from the truth. Aboriginal people had, and have, a level of understanding and

‘For too long we have dismissed the knowledge built up over millennia by Aboriginal people’

Bunya Pine

a connection to the plants in their environment that is detailed and advanced. It is based on thousands of years of exploration, analysis and observation. They have had the opportunity to observe and record how species change in response to the environment, cultural management practices, grazing by herbivores, and, through experimentation, how different species could be used in a myriad of waysforthebenefitoftheirco.munity Their knowledge of plants and the ecosystems was, and is, extensive.

We clearly need to learn from Indigenous people and to work with them to harness this knowledge in the remediation of landscapes and apply them to the management of ecosystems to protect communities, infrastructure and biodiversity.

For too long we have dismissed the accumulated knowledge built up over millennia by Aboriginal people. We have failed to recognise that this knowledge isbasedontruescientificfoundations of observation and experimentation, and that it possesses enormous amounts of

Detail of Bunya Pine seeds

information that we should be applying to solving the issues at hand.

This information and knowledge shouldalsobeeflect r edinhow e nameanddescribetheflora,fungiand fauna that we live with, using genus and species epithets based on Indigenous language (with appropriate consultation and approval) – this is part (along with many other objectives) of the Gardens’ Reconciliation Action Plan.

There is much that can be done to decolonise science and to better eflect r theknowledgeaccumulated

by Aboriginal people.

THE GARDENS SPRING 2022 23

HORTICULTURE

TAKING STOCK OF A

LIVING COLLECTION THE GARDENS IS UNDERTAKING THE FIRST FULL AUDIT OF ITS LIVING COLLECTION AS IT SEEKS TO REVEAL THE SCALE, SIGNIFICANCE AND SHORTCOMINGS OF A

O

n13June1816,coinciding with the completion of Mrs Macquaries Road, Governor ach L an l acq M ar u ei ffici o alfoyl ded nu eht Royal Botanic Garden Sydney, Australia’s oldestScientificInstituon.Charles Fraser, the Government Botanist and theGarden’sfirstSuperintendent, subsequently established a reputation for extensive travel for the purposes of acquisition and sharing of plant 24 THE GARDENS SPRING 2022

specimens around the world. And these initial assemblages ultimately formed the foundations of the Royal Botanic Garden Sydney’s Living Collection.

Living collections are, quite simply, the linchpin of any botanic garden.

Records of living collections, especially when paired with pressed herbarium specimens, tell us an awful lot about the history and evolution of botanic gardens, trends in horticulture and conservation.

We know from our own historical records, for example, that Fraser published a list of 17 varieties of grapes in the Botanic Gardens,andby1833“362ofthese [specimens] were alive and for the most part healthy”. Ultimately the Royal Botanic Garden Sydney was instrumental in establishing the Australian wine industry, aside from its role in botany or testing other species of economic or ethnobotanical value, including olives,

Photos: © Royal Botanic Gardens and Domain Trust

PRICELESS GENETIC RESOURCE. DIRECTOR OF HORTICULTURE JOHN SIEMON REPORTS.

HORTICULTURE

The Gardens’ Living Collection is one of the world’s best ex situ plant conservation resources

pineapples, coffee, cotton, sugar cane and sorghum.

Each botanic garden across the globe is part of an international network of plant material holding genetic diversity of immense conservation value. Many species are now only alive on the planet due to the presence in botanic gardens of individual specimens that no longer exist in the wild. Given the criticality of living collections it is imperative that a Living Collections Policy and Strategy exists for every botanic garden. The last time our organisation reviewed its policy as w 802ni andacoemtn poar r sty at r egy is needed to govern the development, management, direction, protection and enhancement of the Living Collection.

To accelerate the Living Collections Policy and Strategy development, I recently appointed Dr Lucy Sutherland as a strategic consultant. Dr Sutherland is an Honorary Professor at the University of Adelaide and was previously the Director of the Botanic Gardens and State Herbarium in South Australia, as well as acting director of the Australian National Botanic Gardens and the national co-ordinator of the Australian Seed Bank

Partnership. In addition, she has just been appointed as the new Director of the National Botanic Garden of Wales.

Dr Sutherland is now leading an extensive consultation process across all facets of our organisation.

It is fundamental to the success of any strategy that all streams of our organisation support and leverage the Living Collection – be it our science team integrating research, taxonomy or disease diagnostics, our asset team providing critical infrastructure such as irrigation, our education team engaging visitors, or our venues team activating our botanic landscapes. It is, however, our horticulturists that continue to nurture and sustain an ever-growing and at-risk Collection of diversity.

Our three botanic gardens and the Domain are collectively a living

‘Our collection is used to improve outcomes for humanity and the environment’

laboratory of documented, known provenanced species that are actively researched by our own teams of horticulturists and scientists as well as experts across the globe. Our Collection is used to improve outcomes for humanity and the environment including restoring biodiversity through restoration and translocation or through the production of therapeutic medicines. In the last few years alone our Living Collection has actively contributed to biosecurity surveillance, plant breeding (helping make Blueberries blue both on the inside and outside), COVID vaccine research, identification fchemicalcompounds and research trials of natural herbicides or myrtle rust resistance trials.

Spread across almost 750 hectares and three climatically and ecologically diverse landscapes, the Australian Institute of Botanical Science’s Living Collection comprises a staggering 17,000 taxa of living plants. The Institute’s Living Collection also includes all three of our Gardens’ conservation nurseries, where thousands of species are growing at any given time, as well THE GARDENS SPRING 2022 25

HORTICULTURE of our Living Collections Policy and Strategy – we will shortly complete thefirsteverful stocktakeofevery specimen in our Collection, which will be georeferenced and publicly accessible via our Garden Explorer website. This will provide us with a full picteru fo eht eurt scaleandsignfican i ce of our genetic resources. Crucially, it will also reveal gaps in our Collection and opportunities to diversify or exchange with other institutions the critically important specimens we have or should have, as well as those we must ensure are safeguarded at other institutions.

By late 2022 our new contemporary Living Collections Policy and Strategy will help focus and realise the vision of the Australian Institute of Botanical Science and lead to exceptional outcomes for plant biodiversity and conservation. Leveraging the support of our global botanic garden network will create real and lasting plant conservation outcomes to save plants, and the communities in which they live, from the brink of extinction.

‘The Gardens’ Collection comprises a staggering 17,000 taxa of living plants’

Strategic consultant Dr Lucy Sutherland

The Living Collection includes seeds and plant parts stored within the Australian PlantBank

26 THE GARDENS SPRING 2022

Photos: © Royal Botanic Gardens and Domain Trust

as seeds and plant parts stored within the Australian PlantBank. The New South Wales Seedbank, tissue culture laboratory and cryogenic store also store more than 20% of Australia’s seedbearing species and more than 70% of NSW’seat rht enedfloa r –coect l elvi ehty Living Collection is one of the world’s best ex situ plant conservation resources.

While we have collections from all over the world (in fact, plant specimens from more than 77% of countries), our prar mi foy cussi flono a r fo eht sia Pacific,coolclimateegi r onsand,of course,ustraliannativeflora.We hold collections of some of the rarest plants on the planet, including our iconic Woeml Pii en and18fo eht d’s lrow ar r est palm species. At an Australian level, we holdalmost40%offloralistedinthe Environment Protection and Biodiversity Conservation Act. Importantly, we also hold species that are functionally extinct and no longer exist in the wild, such as the Easter Island’s, Sophora toromiro.

To better understand our plant inventory – and support the development

PLANTS

PLANTS IN THE

GARDENS DISCOVER MORE ABOUT THE WONDERFUL PLANTS TO LOOK OUT FOR NEXT TIME YOU VISIT THE GARDENS.

Tree Gardenia

TREE GARDENIA

Gardenia thunbergia Family Rubiaceae Although there are around 60 species in the genus Gardenia, most of us are only familiar with the shrubby Gardenia augusta and Gardenia florida beloved byfloristsandhomegardenersalike.

This large and varied genus of shrubs and small trees is native to areas of South Africa, Southeast Asia and northern Australia. This particular species, known as Tree Gardenia or Star Gardenia, is native to South Africa, where it is found in humid forest regions with high rainfall.

It was originally given its name to honour a Scottish doctor, Alexander Garden, a correspondent of Linnaeus.

The species name, thunbergia, is named for Peter Thunberg, a student of Linnaeus, who travelled as a doctor with the Dutch East India Company to Japan and later to South Africa. Following that period, he taught botany at Uppsala University in Sweden.

Thsi elvol ply ansit classifiedasaal t l shrub or small tree, generally growing

about 2.5–3 metres tall, with a somewhat spreading habit. It has evergreen foliage that is dark glossy green above, but somewhat paler beneath. Branches are fairly horizontal, spreading to around 2.5–3 metres wide at maturity.

Thesweetly-perfumedflowers normally appear from late spring into summer, sometimes lasting into late an J ar u Th. y eyareabo6–8 tu cenetmit es r wide and pure milky-white, with a velvety texe.tur Theyareflattishinshapeatopa slenderbe. ut ear nI eril es, mit eht floerw s were popular as a buttonhole. Sometimes they were also used to scent tea.

It is said that fruits, rarely seen in cultivation, were known to have been used in Chinese herbal medicine as teat r mentsforinfluenzaandcolds.

TreeGardeniawasfirstintorduced into Australia in the mid-19th century,

‘The sweetly-perfumed flowers were sometimes used to scent tea’

beinglistedinthe1843 Catalogue of Camden Park Nursery and indeed, Shepherds Darling Nursery soon after thatin1851.Theoriginalplantin he Royal Botanic Garden Sydney is featured in Director Charles Moore’s cataloguefor1857.

Ideally it should be grown in a sunny spot sheltered from strong winds.

Soils enriched with decayed organic matter are ideal, but they must be free draining. Regular deep watering is needed during the hotter months of the year but soil should be allowed to dry out between watering in cooler weather. Slow-release fertiliser may be applied during the warmer months and the root zone mulched with decayed compost or manure. Little or no pruning is generally required.

Growing Friends Plant Sales may have this desirable plant from time to time, but with a scarcity of suitable propagation material it cannot be guaranteed. We continue to try!

It can be seen in the Royal Botanic ar G denbed ni 85far ton frehtmo erH b Garden, and also bed 7 near the Woolloomooloo Gate.

Margaret Hanks, Growing Friends, Royal Botanic Garden Sydney

The beautiful flower of a Tree Gardenia

THE GARDENS SPRING 2022 27

PLANTS Jacaranda

ROYAL BOTANIC GARDEN SYDNEY Spring brings welcome renewal to the Royal Botanic Garden after the hiatus of winter.

The gardens are looking their best now before the heat and humidity of summer gets started. I always like to see eht firstsprgni flushfo floerw sehtni Rose Garden. Our horticulturists have worked hard to test and select rose varieties that can handle Sydney’s conditions, and that hard work is now paying off, with the quality of roses having increased dramatically in recent years.

Our native rockery is well worth a visit, with so many of the stunning native plants blooming at this time of year.

The rockery now includes a wonderful grevillea cultivar collection, most of whichareinflower.Thereisalsoa paper daisy display at the rockery, adding an extra splash of colour.

The spring annuals are in full bloom around the Garden and make sure you look out for daffodils making an appearance in various locations. Of course, the Spring Walk is a must with eht stiw era i funi flol erw ,coplm emened t by the surrounding mixed borders. The Meadow is growing quickly now the weather has warmed up, providing vital food and habitat for the wonderful range of pollinating insects that visit the Garden. at lnI esprg, ni acar j andasarefloerw gni across Sydney. The Royal Botanic Garden has the oldest jacaranda in Australia –amagnificentee, r locatedonthe lower lawn near Victoria Lodge, which is in full bloom in November.

The white jacaranda on the nearby Mare and Foal Lawn is also well worth a visit. One of my favourite trees is the Millettia grandis at Henry Lawson Gate.

Thisamazingfloweringtee, r with blooms resembling wisteria, is also inful flowerinNovember.

This is a great time to visit the Garden and enjoy the huge range ofplantsnowflowering.

David Laughlin, Curator Manager

‘The Royal Botanic Garden has the oldest jacaranda in Australia’ 28 THE GARDENS SPRING 2022

PLANTS Paper daisy

Daffodil

BLUE MOUNTAINS BOTANIC GARDEN

Photos: © Royal Botanic Gardens and Domain Trust

AUSTRALIAN BOTANIC GARDEN Spring at the Australian Botanic Garden means the sun is shining, the bees are buzzing and visitors to the Connections Garden are greeted with a spectacular mass of colour. The dflo liw erw displaysi soetm gnih every plant enthusiast should see. A coect l foni Westerstun al r a’s i finest paper daisies is selected each year, with work beginning on the display in May when soil preparation commences. Seed is then mixed with peatandfinegravelbefoer beign broadcast, covering the area in a thin layer of seed mixture. To protect the plants from the resident wildlife in the Garden, the beds are covered with netting, which in late August is removed and the display revealed.

Keep in mind that the display is short lived (lasting around six weeks), so be

sure not to miss it and plan your trip.

Bring your friends and while you are at the Garden, I encourage you to explore the several unique gardens ew av h effer on Yo. fin l iw u d waratahs bursting into bloom, featuring shades of crimson and white.

The Arid Garden is producing spectacular Eremophila with vibrant floerw ssetamgno asiervl elv-y etv backdrp.o Nectarfil - ed l grevea li ar v eti es i arebustr gni flohtiw erw sni various shades of red, orange, yellow and white. The brightly-coloured rainbow lorikeets light up the sky and filehtl aisqhtiwr eak u sandsqaw u s, k as do our raucous gangs of cockatoo.

Species in the paper daisy display include Rhodanthe manglesii, Rhodanthe chlorocephala (pink with dark centre, pink with yellow centre, white) and Schoenia filifolia.

Jarryd Kelly Supervisor Horticulture

Nothing says cool climate gardens like an abundance of bulbs, and the hills will be alive with tulips come spring at the Blue Mountains Botanic Garden. A riot of orange and red tulips in the Entrance Beds will greet visitors as they arrive, while a frothy pink display of fringed tulips will grace the beds of the Formal Garden. From there, the scent of hyacinths will guide visitors through to the Visitor Centre entrance, with massed displays poking their heads above the ground beside the Wollemi Pines. Heading down the hill, the Brunet Meadow’s spring display will be unmissable, with a golden mass of hundreds of daffodil cultivars swaying gently in the breeze on the hillside. The Residence Garden, not one to be left out, will have a focus on Crocus on the Residence Lawn. Displays of vivid yellow and delicate pastel Ranunculus will also feature in the Residence Garden, abolishing all thoughts of winter and loudly announcing that ‘spring is here!’

Marion Whitehead, Supervisor Ornamental Gardens and Nursery

GROWING FRIENDS

PLANT SALES The Royal Botanic Garden Sydney Mon–Fri 11am–2pm, Sat 10am–2pm The Australian Botanic Garden Mount Annan Mon–Sun 9am–4pm The Blue Mountains Botanic Garden Mount Tomah Mon–Sun 9.30am–4.30pm

THE GARDENS SPRING 2022 29

DIARY

WHAT’S ON Here is just a taste of what is on offer during winter across our three Gardens. For more information about events, and to book, visit botanicgardens.org.au/What-s-On. All activities have been planned with your safety in mind, including social distancing and hygiene measures. Events with the BF symbol aregan or isedbyFoundation&Friendsandcanbebookedonlieorbycalling(02)92318182.

ARTISANS IN THE GARDENS

ARTISANS IN THE GARDENS 21ST CELEBRATION OPENING NIGHT

Lion Gate Lodge, Royal Botanic Garden Fri 28 October, 6pm–8pm Join us to celebrate 21 years of the Artisans in the Gardens exhibition. Here is your chance to chat to our artists, sip on a glass of wine and sample delicious canapés in historic Lion Gate Lodge.

Browse unique art works and choose a piece to take home before the doors open to the general public.

M $65 NM $75 R i BF botanicgardens.org.au/What-s-On

ARTISANS IN THE GARDENS EXHIBITION

Lion Gate Lodge, Royal Botanic Garden, Sat 29 October–6 November, 10am–4pm Celebrating artists from the last 21 years and as well as fostering new talent, Artisans in the Gardens 2022 will hit the Garden with a bang this spring, with works spanning sculpture, jewellery, printmaking, metalwork, textiles and more.

Prceeds o goehto arstit sandalsosuppocu itroh e, rutl coser n at v ,noi scienfic it research and education programs within the Botanic Gardens.

F botanicgardens.org.au/What-s-On

KEY: M Foundation & Friends’ member NM Non-member MC Member’s child NC Non-member’s child MP Materials provided MT Morning tea provided L Lunch provided R Refreshments provided B botanicgardens.org.au/What-s-On F Free BF Book through Foundation & Friends New member gift voucher can be used i More information with booking

30 THE GARDENS SPRING 2022

Photos: Alice Bruyn, Brenton McGeachie, Kate Holmes, Simone Cottrell, © Royal Botanic Gardens and Domain Trust

Trowels by Sharon Peoples

DIARY

ARTISANS IN THE GARDENS Pressed + Poured

FOOD WITH FRIENDS CAFE

Lion Gate Lodge, Royal Botanic Garden Sat 29 October–6 November, 10am–3pm Visit the exhibition pop-up café at Lion Gate Lodge, where you can indulge in fresh coffee, sandwiches and homemade treats right in the heart of our exhibition precinct. Take this opportunity to sit and enjoy a treat among the artworks, served by our incredible catering volunteers. lproceedsfromthecaféwilbenefit our continued support of the Botanic Gardens' science, conservation, education and horticultural programs.

Family of Ducks by Imagine Design & Fabrication

ARTISANS SHOPPER POWER HOUR

Lion Gate Lodge, Royal Botanic Garden, Sat 29 October, 9am-10am EnterLionGateLodgebefoer anyoneelseonthefirstdayoftheexhibition.

Tickets to our Shopper Power Hour gain you access one hour early as well as a beveragevouchertouseatourFdwithFrendsCafé.Takeadvantageofthisto buyaheadofthecrowdsandenjoytheexhibitioncomfort.

M $20 NM $25 R i BF botanicgardens.org.au/What-s-On

MORNING OR AFTERNOON TEA & EXHIBITION TOUR

with Curator Libby Wright Lion Gate Lodge, Royal Botanic Garden Mon 31 October, 2pm–3.30pm & Wed 2 November, 10.30am–12noon Sit in the garden at Lion Gate Lodge and enjoy a delightful afternoon or morning tea followed by a tour of the Artisans in the Gardens exhibition with curator Libby Wright. Enjoy this exclusive small-group experience where you will be able to chat to Libby as she takes you through the exhibition.

M $20 NM $25 MT i BF botanicgardens.org.au/What-s-On

ARTISANS SPRING WALK HIGH TEA

Lion Gate Lodge, Royal Botanic Garden, Sat 5 November, 2pm–3.30pm If you are looking for a stunning high tea experience, look no further than Artisans Spring Walk High Tea. The Royal Botanic Garden’s Spring Walk is an iconic blooming paradise of vibrant colours and divine perfume. This high tea comprisesacarefulycuratedmenuoffingersandwiches,sweets,classicscones andaglassofsparklingwine.

M $100 NM $120 MT i BF botanicgardens.org.au/What-s-On THE GARDENS SPRING 2022 31

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ART & CRAFT CLASSES

PATHWAYS TO ABSTRACTION

INTRODUCTION TO BOTANICAL ART with Shipra Shah

Maiden Theatre, Royal Botanic Garden, Thu 15–Fri 16 September, 9.30am–4pm Botanical art is a unique and specialised form of art which portrays an object with precision and detail to bring out its natural beauty. In this workshop, participants will learn the techniques of sketching an object proportionately in pencil and then use watercolours with light and tone to create depth in an object. Ideal for beginners and students with some experience in watercolour.

M $280 NM $320 MT L i BF botanicgardens.org.au/What-s-On

ART KINTSUGI WORKSHOP

BOTANICAL LINOCUTS with Cilla Campbell

Maiden Theatre, Royal Botanic Garden, Sat 17–Sun 18 September, 10am-4pm This botanically-themed linocut workshop is suitable for all experience levels.

Cilla will guide you through the lino carving and printing process using non-toxic water-based inks. You will gain an understanding of the history of this craft, and take home materials and tools to continue developing your skills at home.

M $400 NM $420 MT L i BF botanicgardens.org.au/What-s-On 32 THE GARDENS SPRING 2022

with Yoko Kawada Maiden Theatre, Royal Botanic Garden Fri 23 September, 10am–3pm Kintsugi is a century-old Japanese craft, piecing back together broken ceramics usinglacquerandgolddust–finding beauty in imperfection. This process transforms rescued objects to create a new piece of art and live a more sustainable way. All materials are provided and at the end of this handson workshop you will have your own Kintsugi art piece to take home.

M $170 NM $190 L MP i BF botanicgardens.org.au/What-s-On

Photos: Christopher Miles, Kris McKee, © Royal Botanic Gardens and Domain Trust

with Toni Mcdowell Maiden Theatre, Royal Botanic Garden Thu 8–Fri 9 September, 9.30am–4pm How do you make the leap from traditional to abstract painting? In this course you’ll discover new ways to create an abstract image through techniques such as mark-making, collage, layering colour and painting without brushes. Suitable for students with some painting experience who wish to develop their creative skills with helpful one-on-one tuition.

M $280 NM $320 MT L i BF botanicgardens.org.au/What-s-On

DIARY

PAINTING ON CLAY

with Araceli Adams Maiden Theatre, Royal Botanic Garden Tue 1 November, 1pm–4pm Learn how to paint on clay with Artisans artist, Araceli Adams, who will provide bisque platters ready to paint with an outline of a Swimming Mangrove Crab. During this intimate workshop you'll learn ceramic painting basics and specialised techniques.

All materials are provided and your functionalartworkilbefiredand glazed upon completion.

M $230 NM $250 MP i BF botanicgardens.org.au/What-s-On

STILL LIFE ART CLASS

with Charlotte Thodey Maiden Theatre, Royal Botanic Garden Tue 15–Wed 16 November, 9.30am–4pm Course emphasis will be on the close-up observation of nature in various stages of decay, in addition to composition, drawing, the arranging of the objects, tonal values and the careful layering of colour to capture light in order to reveal the essence of fruit and vegetables, blemishes included. There is an appreciation for individual style.

M $300 NM $340 MT L i BF botanicgardens.org.au/What-s-On

PAINTING MEMORIES ON CERAMIC with Isabella Edwards

Maiden Theatre, Royal Botanic Garden, Fri 4 November, 10am–12noon Learn how to mix your own ceramic watercolour paints with Artisans artist Isabella Edwards, who will teach you how to create artwork based on your favourite places and memories. During this two-hour workshop you will get to experiment with different techniques, brushes, mediums and processes on bisque tiles.

All materials are provided and a Food with Friends Café voucher is included.

M $140 NM $160 MP R i BF botanicgardens.org.au/What-s-On

WOVEN CHRISTMAS TREE WORKSHOP

Maiden Theatre, Royal Botanic Garden Sun 27 November, 9.30am–1.30pm In this relaxed four-hour workshop you will learn basketry techniques with sticks and vines to create a beautiful one-of-a-kind Christmas tree. You will also make your own string from leaf fibres–handyforwappingpresents, making garlands or decorating your tree. All materials are provided and the workshop includes a light lunch.

M $180 NM $200 MT

L

MP

i

BF

botanicgardens.org.au/What-s-On

FLORAL BAUBLE WORKSHOP

Maiden Theatre, Royal Botanic Garden Thu 1 December, 1pm–4pm JoinlcalSydneyfloristKrisMcKee forafloralbauble-makingworkshop just in time to decorate your tree for the festive season. You'll create four beautiful baubles using a variety of driedfloralmaterials.Eachbaubleis unique and you'll have an opportunity to let your creativity shine! All materials are provided and participants will enjoy a glass of sparkling wine while they createtheirfloralChristmasbaubles.

M $80 NM $95 MP R i BF botanicgardens.org.au/What-s-On THE GARDENS SPRING 2022 33

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TALKS & WALKS

GARDENING SKILLS WORKSHOPS

ASTRONOMY AT THE CALYX

with Botanic Gardens’ experts Rathborne Lodge, Royal Botanic Garden • Soil & Potting-mix: Sat 3 September, 9.30am–3.30pm • Plant Care – Nutrition & Watering: Sat 1 October, 9.30am–3.30pm • P ropagating Plants: Sat 5 November, 9.30am–3.30pm Join other plant-lovers for hands-on learning, behind-the-scenes tours and tips on plant care to set you on the path for gardening success.

Suitable for adults M $162 NM $180 per workshop botanicgardens.org.au/What-s-On

The Calyx, Royal Botanic Garden Tue 6 September, 6:30pm–9pm & Wed 2 November, 7pm–9:30pm Join us for a night of astronomy and stargazing in the heart of the Royal Botanic Garden. Over a glass of wine, discover what the night sky teaches you with First Nations astronomer Drew Roberts, then travel through space to visit mysterious planets far from Earth with renowned astronomer Dr Angel Lopez -Sanchez or Fred Watson.

Suitable for adults and kids 12+ M $37 NM $43 botanicgardens.org.au/What-s-On

BREAKFAST WITH THE BIRDS

Foundation & Friends’ Terrace Royal Botanic Garden Thu 22 September, 7.30am–10am The Royal Botanic Garden is a home to many beautiful bird species and this is your opportunity to discover the fascinating birds that inhabit our Garden with the help of experienced volunteer guides. Resident species include Tawny Frogmouth, Whitenecked Heron and Chestnut Teal.

Tour concludes with breakfast.

Bring binoculars.

M $40 NM $50 i BF botanicgardens.org.au/What-s-On

NATURE THERAPY WALKS

THE FUNDAMENTALS OF PROPAGATION

with Greg Lamont Maiden Theatre, Royal Botanic Garden Sat 12 November, 9:30am–12:30pm Join Greg Lamont, expert horticulturist and Growing Friends volunteer, to learn how to propagate plant species from the living collection of the Gardens.

You’ll learn the fundamentals – from cuttings made from a range of indoor plants, garden shrubs and succulents, to understanding potting mixes and plant care.

M $70 NM $85 MT MP i BF botanicgardens.org.au/What-s-On 34 THE GARDENS SPRING 2022

• V isitor Centre Royal Botanic Garden Sun 11 & Sun 25 September, Sun 9 & Sun 23 October, Sun 6 & Sun 20 November, 10am–12noon • V isitor Centre Australian Botanic Garden Sun 4 September, Sun 16 October, Sun 13 November, 10am–12noon • V isitor Centre Blue Mountains Botanic Garden Sat 26 November, 11am–1pm Originating from Japan, Shinrinyoku (forest therapy) improves wellbeing by immersing the senses in nature and promoting mindfulness, quiet aware walking and relaxation.

Suitable for 13+ M $32 NM $35 botanicgardens.org.au/What-s-On australianbotanicgarden.com.au/ What-s-On bluemountainsbotanicgarden.com. au/What-s-On

SUNSET SPOTLIGHT

• Woolloomooloo Gate Royal Botanic Garden Last Wed of the month (times vary) • Mount Annan Drive Gate Australian Botanic Garden Last Fri of the month (times vary) Experience the Gardens’ fascinating night-life by torchlight. Visit biodiversity ‘hotspots’ to look for nocturnal animals.

Suitable for 8+. Paying adult must accompany all children M $36 NM $42 MC $17 NC $20 botanicgardens.org.au/What-s-On australianbotanicgarden.com.au/ what-s-on

Photos: Shutterstock, Sarah Renwick, Alice Bruyn, Erwin Atmadjaja, © Royal Botanic Gardens and Domain Trust

GARDENING

DIARY

KIDS’ ACTIVITIES

MEMBERS ONLY

BEES, BUTTERFLIES AND BUGS!

• Rathborne Lodge Royal Botanic Garden Mon 26 & Tues 27 September, 10am–11:30am & 12:30pm–2pm • Bowden Centre Australian Botanic Garden Thu 6 & Fri 7 October, 10am–11:30am & 12:30pm–2pm • Waratah Education Centre Blue Mountains Botanic Garden Fri 30 September, 10am–11:30am & 12:30pm–2pm Kids will learn about the special elr ationshipbetweenbuterflies,bees, bugsandflowers.They’llexploer how floerw sse u co,ruol perfuem andshapes to attract invertebrate friends, and they'll alsobuildtheirownmiatuer flower garden to attract their favourite bug!

Suitable for kids 5+ (must be accompanied by adult) MC $16 NC $18 botanicgardens.org.au/What-s-On australianbotanicgarden.com.au/ what-s-on bluemountainsbotanicgarden.com.au/ what-s-on

Foundation and Friends of the Botanic Gardens Ltd, Cottage 6, Mrs Macquaries Road, Sydney 2000 Phone: (02)92318182 Chief Executive Officer: Peter Thomas foundation.friends@botanicgardens.nsw.gov.au botanicgardens.org.au/foundationandfriends Officehours:Mon–Thu,9am–3pm facebook.com/FoundationandFriends instagram.com/FoundationandFriends

NEW YEAR’S EVE PICNIC

Mare & Foal Lawn Royal Botanic Garden Sat 31 December, 5pm–12.15am Did you know that Foundation & Friends holds an exclusive members-only picnic right on the harbour on New Year's Eve? Gain access to these world-class views at one of the only BYO-sanctioned NYE events in the area by simply becoming a member or ensuring your membership is current before mid-August 2022.

Look out for a members-only early bird deal on sale 23 August. M $160 NM $190 MC $30 (6–15 yrs) F (0–5 yrs) botanicgardens.org.au/What-s-On

HELPING HANDS SPRING-INSPIRED WATTLESEED CUPCAKES

• Rathborne Lodge Royal Botanic Garden Wed 28 September 10am–11:30am & 12:30pm–2pm • Bowden Centre Australian Botanic Garden Wed 5 October, 10am–11:30am & 12:30pm–2pm Join our First Nations educators andobservenativeflowers blooming. Kids will learn about connection to Country through storiesaboutflowers,animalsand seasonal changes before choosing theirownspringflowertoinspier their own frosting design on a wattleseed cupcake. Yum! Such a fun and delicious activity!

Suitable for kids 5+ (must be accompanied by adult) MC $16 NC $18 botanicgardens.org.au/What-s-On australianbotanicgarden.com.au/ What-s-On

Discover the work that goes into maintaining the Gardens and learn from the horticulture staff, taking direction from the team. Please wear sturdy boots and bring a hat, gloves, sunscreen and water. It's so easy to join online as a Foundation & Friends member in order to participate in this exclusive, enlightening, educational and fun activity.

Members Only F

BF

i

Blue Mountains Botanic Garden Mount Tomah Education Centre Wed 7 September, Wed 5 October Wed 2 November, 8.30am–12no Australian Botanic Garden Mount Annan Meet at the main car park Wed 14 September, Wed 12 October Wed 9 November, 8.30am–12no Royal Botanic Garden Sydney Foundation & Friends Terrace Thu 15 September, Thu 20 October Thu 17 November, 8.45am–12no botanicgardens.org.au/What-s-On

EDITORIAL Editor: David Carroll Designer: Lauren Sutherland Coordinator: Helen Goodall Feature writers: Dr Brett Summerell (Botanical Science), John Siemon (Horticulture), Sue Wannan (Arts) and Miguel Garcia (History) Scientific adviser: Dr Russell Barrett Regular contributors: Raoul de Ferranti, Carol Griesser, Margaret Hanks, Jarryd Kelly, Greg Lamont, David Laughlin, Simon Reid and Marion Whitehead

Printer: Bright Print Group Print Post approved: PP 100004091 ISSN1324-8219 Printed in Australia on paper made from FSC-certifiedandothercontorledmaterials.

FSC® helps take care of the forests, and the people and wildlife that call them home.

BECOME A MEMBER

Foundation and Friends of the Botanic Gardens supports the important work and programs across your Botanic Gardens – the Royal Botanic Garden Sydney, the Australian Botanic Garden Mount Annan and the Blue Mountains Botanic Garden Mount Tomah. Our mission is to grow a strong, supportive community to advocate and raise funds for our Botanic Gardens andtheivitralhor ticultural,scientific, education and conservation work.

Join our vibrant community of members otdaybyphoing(0) 2 31 29 8182visior ting botanicgardens.org.au/membership Membership fees: Standard $70, Concession/student $60, Household$95,Householdconcessi$80 on

THE GARDENS SPRING 2022 35

ALL ARTWORK FOR SALE Celebrating the past and continuing to welcome new and exciting artists

21st Anniversary Exhibition

29 OCTOBER - 6 NOVEMBER 2022 LION GATE LODGE | 10AM - 4PM DAILY

FREE ENTRY

Artwork by Serena Owen

Presented by

Supported by

PROTECT YOUR GARDENS FOR GENERATIONS TO COME By leaving just a small percentage of your estate as a gift in your will, you’re helping to sustain the gardens for future generations. You are also making a distinctive and substantial contribution to a greener, more sustainable planet.

We rely on this critical support - not only to help the gardens flourish, but to protect global plant biodiversity for the benefit of our planet and humanity.

To find out more about leaving a gift in your will, contact us.

Phone: (02) 9231 8182 Email: foundation.friends@botanicgardens.nsw.gov.au Visit: botanicgardens.org.au/bequest