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Research about Carol Gouthro and her work style

...... Gouthros fantastic botany also reminds us that the natural environment itself is a relatively recent cultural invention, and that the boundaries between animal, vegetable, and mineral are actually more permeable than we may commonly believe. Her acquaintance with the classics of floral illustration is abiding and deep; for example, in a 2007 profile (Wagonfeld 48), she named Karl Blossfeldts photographic plant studies as a primary influence. If she is familiar with Blossfeldts epochal Art Forms in Nature, she may be a student of Ernst Haeckels similarly titled investigation of the quasi-geometric, quasi-organic microbial univeral, or of the wonder cabinet juxtaposition of nature with art that spawned the visions of illustrators like Albertus Seba, Maria Sibylla Merian, and, more recently, Leo Lionnis arresting Parallel Botany
Lionnis hybrid plant forms sometimes demonstrate something of the quality of a nightmare. Gouthros are more dreamlike in conception, and even their thorns and other occasional sharp edges are more likely to produce shudders of whimsy (erotic or otherwise) than outright menace. These are not the carnivorous plants through which the erotic Venus of nature traps and digests her animal prey. Instead, Gouthro is a self-described optimist (Gouthro 1) who takes deliberate care to balance