How can we learn to be more like nature?

Whatever I am making, I stay present and engaged with the moment and feeling or subject in front of me, connecting through the senses, be that of smell, touch, or sound through breath, and becoming deeply aware and alert in my body with a clear mind to express and capture the essence of the life force or soul of the natural world.

During an age where the modern world demands an increasing pull away from the natural world, it is paradoxically even more essential to keep our connection with nature and come closer to it. Again, it is proven that the human brain releases dopamine, which combats stress when amongst nature, particularly amongst trees. It is easy to notice this on a daily or minor level when gardening, after a short walk, or simply sitting under a tree in the park and looking up at its leaves. As someone who struggles with the battles of the mind, trees have become a constant refuge for me. My love for the trees has guided my research into the science of how the trees communicate through mycelium and how drawing could express this magical concept time and time again; I have returned to the trees as a source of grounding in my work, but also literally rerouting myself to the earth, especially after periods of travel and exploration in other countries and other realms. Through my art practice, working outside, directly in front of the trees, brings me into the whole sensory experience of nature, thus cutting out of the busy chatter of the mind and into the magical world in front of me. Working in the plein air is an excellent tool for letting nature guide your work, calm and balance your spirit, and bring you back into the body.

In 2024, there’s a notable surge in art that centers around the theme of nature, symbolizing a collective reconnection with our environment. British artist Annie- Rose Fiddian-Green contributes an exclusive piece, offering guidance to emerging artists on the reasons for and methods of drawing inspiration from nature.

How can we learn to be more like nature — trusting, following the seasons, and flowing with more connection to the place that allows us to breathe? Trees are a direct link to this. I like to draw freely and loosely, to engage deeply with trees’ physicality and ever-moving nature. My drawing technique for the trees is the same as how I draw the human body. I realized the many similarities between the human body and the trees. Both exchange oxygen. Both are constantly growing, changing, and aging. Both need water and food, and both need light. The simplicity of their being is a beautiful guide to simplicity, and in many ways, humans have become so removed from it. Still, I find a lovely tonic to cool the overactive part of the brain by walking and seeing what nature can tell you and what she can teach you.

Breathwork yoga and meditation have become central in my life and led me to India, where I became a qualified yoga teacher and breathwork coach. These practices directly relate to my art-making process. They create more space in the mind and the body, allowing my very physical drawing and painting processes even more dynamism and expansion. The abstract expressionists have influenced me since I trained at City and Guilds Art School, where I explored action painting in its purest form. This still informs my work. My drawings often use the whole body’s energy in response to the scale and power of ancient trees.

Brooke-Walder Gallery, London, recently presented the inaugural solo exhibition Breathing with Trees by British artist Annie- Rose Fiddian-Green. Within the exhibition, Fiddian-Green returned to drawing in its purest form and offering an alternative view of what the artist considers the “enchantment of the ever-changing earth.” Fiddian-Green continues exploring ancient trees’ emotional essence and tangible presence, weaving together her meticulous study of drawing. and reflection on nature. Crafted against the backdrop of spring in Surrey, the landscape serves as a wellspring of inspiration for Fiddian-Green’s palette, motifs, and subjects, encompassing swirling lines that swell with the rhythm of nature’s heartbeat.