Pachypodium namaquanum (Wylie ex. Harv.) Welw (Halfmens) Possibly 1778 - 1786

Editor: So, this is Robert Jacob Gordon's watercolour, "Pachypodium namaquanum," likely created between 1778 and 1786. There’s a striking starkness to the plant, almost confrontational with those spikes. What strikes you most about this piece? Curator: Immediately, I'm drawn to the context in which this piece was created. Think about the late 18th century: European expansion was deeply entangled with scientific exploration. These botanical illustrations weren't simply objective records; they participated in the colonial project of understanding and often, appropriating, the natural world. The plant itself becomes a symbol of the "other," classified, displayed, and controlled through visual representation. Editor: That's a really interesting perspective. I was focused more on the artistic choices – the artist has presented the subject dead center in the work, it makes me think of objective representation. But it sounds like you're pointing out how the "objective" gaze is never truly neutral? Curator: Precisely! Consider also who this artwork was intended for. It would have been seen by a European audience, furthering a particular vision of South Africa and its flora. The romantic, "naturalistic" style, while seemingly accurate, reinforces a narrative of the exotic and the unknown, ripe for discovery and, implicitly, domination. What does it mean to frame nature in this way? Who benefits? How do images legitimize certain power dynamics? Editor: I never considered that angle before. It makes me rethink the whole idea of landscape art from that era. Thanks! Curator: And thank you. Thinking about art as evidence of broader historical forces definitely enriches the conversation.