A Botanical Journey In Time
Following the completion of our Life, As We Know It redisplay project earlier this year, we are taking a look at some of the exceptionally skilled people who helped to bring it all together. In this article, model maker Inese Veismane recalls some of the weird and wonderful extinct plants that we needed for our new displays…
I remember the exact moment I saw the message from the Museum of Natural History. I had just returned home from a trip, switched my phone back on after the flight, and there it was – waiting for me to jump into the unknown. It came at a time when my personal life was shifting in a difficult direction, and in an unexpected way, this project became something that held me steady.
My work usually lives in the botanical world – delicate flowers, soft forms and colours, artsy details – so stepping into a space shaped by scientific accuracy and unfamiliar subjects felt like entering a new landscape. This time, I was asked to create not only plants but organisms like worms, including the intricate and challenging Christmas tree worms.
The commission began in 2023, and from the very start, it was clear that this would be a different kind of creative process. Instead of observing a living plant or working from my own references, I was guided by scientific material provided by the museum. There was a responsibility to honour not just the visual beauty of each subject but also its structure, proportions, dimensions, and defining characteristics.
I work with air-dry clay, building each form slowly by hand. My process is intuitive but also very attentive – I spend time studying botanical forms and shapes and then transforming that into something tangible. With these models, I had to balance that intuitive, artistic approach with careful observation. It became a dialogue between art and science.
Working on the early plants became one of the most interesting parts of the project. Recreating species like Asteroxylon mackiei, Rhynia, and Cooksonia felt like reaching into a distant past. These are plants that no longer exist, known only through scientific study and careful reconstruction. There was something deeply humbling in shaping them by hand – giving form to something that once lived hundreds of millions of years ago. It felt like a journey back in time. I had to rely entirely on references and guidance while still allowing the forms to come alive through my own interpretation.
One of the most meaningful parts of this creative process has been witnessing the transformation of each piece – from a simple beginning to something that holds presence and detail. I also find importance in sharing these stages on my social media. It creates a sense of continuity – an archive of the work that can be returned to over time.
Looking back, this experience has expanded the way I see my work. It reminded me that even when we step outside of what feels familiar, the essence of creating remains the same: to pay attention, to be patient, and to trust that something will slowly take shape.
There is also something special in knowing that these handmade models will live within the Museum and become a part of a much larger story – held in a space where art and science meet.
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See more of Inese’s work at: www.instagram.com/cooleblumen/
