Tanzanian botanical illustrator charts new path in art

By Helen Nyambura

Working under a garden umbrella, Riziki Kateya painstakingly dissects her subject in an almost surgical manner. In her newly learned art, precision is paramount. If the size and colour differs from the real impressions, this could classify her drawings as being incorrect.
She is making her name as Tanzania’s first botanical illustrator, by painting indigenous plants and flowers, depicting even minute details such as microscopic hairs on a twig.

attract wider interest

Typically, botanical illustrations end up in botany publications common in institutional libraries that many artists may have avoided in school. Yet their worth to budding conservationists and botanists is invaluable. Riziki is however, optimistic her art will attract wider interest beyond the science circles – at least judging by response to the launch of her first solo exhibition at Mawazo Gallery, in Dar es Salaam. Nine of the 14 pieces on display were bought.

“On the opening day, I was scared. How would people respond or react to my plants?” recounted the 23-year-old artist. “But (later) everyone was shaking my hand. I was impressed and it gave me the courage to work on some more pieces.” Riziki’s first earnings were not disappointing either, with price tags ranging from $140 to $230.

She also landed orders from potential buyers for her paintings, thus ensuring she keeps busy for coming months. “My policy is not to get too much money. Each piece should pay for the time and work that has been put into it. This work is scientific, it’s accurate, it’s not about guessing,” she points out.

layers of paint

Riziki notes that her new art is hard work, and errors cannot be painted over. She for instance has to hike up mountains, and follow river channels in search of the perfect specimen. She can also be found bending over paper and watercolours in someone’s garden.  But before she can even put pencil on paper, Riziki measures her subject, dissects it and puts it under a microscope. She then pencils it out on tracing paper and transfers this onto paper.

After this, she uses layers of paint until she draws an exact copy of the specimen. “It’s a difficult process that leaves you with a headache and itchy eyes. One mistake in the process means starting all over or stopping for the day if the sun moves and lighting changes,” she elaborates.

Initially though, her encounter with the arts did not incline towards illustrating plants. Whereas her father is an accomplished realistic and abstract painter; and her mother a jeweler – Riziki was figuratively born with a pencil in her hand.  “Since I was born, I knew how to hold a pencil, no one taught me,” she says coyly.

under the tutelage

Neither did she undertake any art classes at school; but several of her drawings were always displayed whenever her father held showcases in Arusha town, northern Tanzanian. It was at one such exhibition that Riziki met Professor Elias Jengo of the University of Dar es Salaam.

“He suggested that I enroll at the Bagamoyo College of Art, Tanzania’s leading art school”, she recalls. And in her final year, she landed a scholarship to study botanical illustration at the Kew Gardens under the tutelage of Christabel King.

For three months, in Britain’s wintry and dreary weather, Riziki conscientiously learned her art. “At first, I was stunned by the work on the walls. I was sure they were photos but I learnt photos cannot depict all details as botanical illustration could.”

Riziki soon realized working with plants in the temperate climate, was an indicator her new path was going to be full of hurdles.

“At times, I hated what I was doing. I had to sit for two weeks on the same chair and table, working on the same paper and using the same shade of colour. Plants have taught me patience. “It was frustrating but not anymore. Now I like it, I love it and am going to do it.”

Email:helenwnyambura@yahoo.com

  photo credits: Helen Nyambura