Margaret Larmuth

The root system is fundamental to this work as it illustrates not only the root systems of plants but also suggests our connectivity with each other.

Central to my recent work, particularly my large-format drawings of imagined plants, is the concept of interconnection. In a world that often glorifies individual success, I am drawn to the idea that our strength, much like the intricate root systems of plants, lies in our ability to connect, collaborate, and support one another. True resilience, I believe, stems from a shared sense of purpose rather than isolated self-interest. Through my art, I strive to reflect this vision, offering an exploration of the invisible threads that bind us all.

I wanted to make large format work and had attempted to do this in the past, but often found a canvas twice my size quite complex and daunting. But during the time of Covid, the thought again occurred to me and overwhelmed me with such a power that I knew I had to do something about it. I bought a 10-meter roll of drawing paper and pinned the first piece to the wall of my apartment. The paper was nearly 3 meters high and 150 wide. There was no possibility of using paint, rollers, and large brushes in my tiny apartment - so I used a pencil!!

It took 5 months to draw.

Basel garden: 150 x 250 cm, 59 x 98 inches, Coloured pencil on paper, 2024

Power plant - a canopy of protection: 150 x 260 cm, 59 x 98 inches, Coloured pencil on paper, 2024

This drawing took 4 months to complete.

HOW I WORK

I never start a drawing without a signal, an image that doesn’t go away.

For this particular work, the vision presented itself as “A canopy of protection.” That phrase pushed me to discover how to translate it onto paper. The process begins with dividing a large sheet into three distinct sections: bottom, middle, and top. This straightforward division grounds the composition, providing a framework within which I can let each element unfold. The lower section often manifests as water or roots, a place of grounded energy. The middle section becomes a space of dynamic growth, while the top remains sparse, allowing space to breathe.

I always start my drawings from the far left of the middle section. Here, the plants emerge one by one, each distinct, each introducing itself in turn. There’s no preordained design; instead, I am as much in the dark about the outcome as the viewer will be. I don’t overthink during the process; I simply draw while absorbed in listening to podcasts, lost in a different sense of “extended” time.

The joy of the process is mirrored in the joy of sharing these drawings. When viewers interpret my work, they often reveal meanings I had not consciously intended. Some point out themes of colour, mysticism, or mythology, areas I hadn’t considered directly yet find embedded in the work nonetheless. The reflections and imaginations of others deepen my understanding, transforming each drawing into a dialogue that transcends the original “canopy” and blooms into endless new interpretations.

This work is an invitation to explore a space of collective protection and interconnected growth. In “A Canopy of Protection,” each viewer is encouraged to find their own reflections, their own symbols, woven into this layered, organic work.

BELOW

Close-ups of Drawing

This drawing was inspired by Peonies in a friend's garden. I wanted to draw the richness and the fullness of the flowers. during the summer of 2023 and the mystical plants that do not yet exist. The blue ring around the drawing is symbolic of our connection with each other and the protection that we gain from this.

The drawing took 4 months.

River Garden 150 x 250 cm, 59 x 98 inches, Coloured pencil on paper, 2023

Desert garden: 150 x 250 cm, 59 x 98 inches, Coloured pencil on paper, 2024

After drawing the “River Garden” with all its lushness and fullness, I felt the need to cut back on the details and minimalise the drawing. I was inspired by drying plants and pods during the close of summer as the autumn chill was beginning to weave into our days.

Although the background has a sparseness to it, there is nevertheless a thriving underworld beneath that feeds the plants and has strange shells from another world embedded in their roots. It came from a sense I had, that even though things around us seem stuck and even though we feel isolated at times, there is always a parallel world filled with a life force and energy that is not visible to us yet.

It took 3 months to draw.

My work is unique because I use pencil crayons on large-format paper. Each of these large-format drawings takes 3 - 5 months.