One may position scientists and artists on polar opposite scales of perspective, one viewing life analytically, the other, a source of creative expression. Throughout the discourse of art history, art has been used to enhance scientific understanding. From Leonardo da Vinci’s famous fifteenth–century anatomical studies to modern representations of the human body, the prevailing influence of human anatomy continues to communicate objective truth. The intersection between individualised expression and universal fact provides an avenue where creativity fuses with logic and imagination meets knowledge. Despite many believing that science and art speak different languages, for artists like Becky Ullah, they share a common tongue: the language of observation.
Graduating from the University of Southampton in 2007 with a bachelor’s degree in medicine, Becky Ullah pursued a career as a doctor until 2022. Although having always been captivated by the diversity of medical practice and the thrill of discovery, the demand placed on overstretched and understaffed healthcare workers by the NHS progressively extinguished Becky’s enthusiasm for the profession. Taking a career break in 2016 in an attempt to rekindle her passion for medical practice, she developed a love for horticulture while undergoing IVF treatment. Pursuing her new horticultural interest, she proceeded to obtain a Practical Horticulture Level 2 Certificate, while managing to conceive her first daughter naturally after three rounds of IVF.
However, not long after her career break, she returned to medical practice as a GP. Participating in combating the COVID-19 pandemic, like many other healthcare professionals working on the front lines, pushed Becky to breaking point. Tested to the limits of her professional competence, the balancing of personal risk with the duty to care for her patients took a considerable toll on her mental health and wellbeing. In April of 2022 she left the medical profession. Unfortunately, soon after, Becky endured a disc prolapse. It was during her recovery that she pursued art as a medium to process her emotions accordingly.
Observed through her medical career, Becky perceived many parallels between the structure of plants and human anatomy. With plants permeating the basis of many modern prescription medications, Becky became inspired to produce a series of botanical prints to celebrate this observation. The first in her series of prints is The Medicinal Heart, succeeded by The Medicinal Lungs and The Medicinal Brain. Contrary to common belief, her prints demonstrate the principle that science can be communicated creatively. Combining her interests in anatomy, medicine and horticulture, she primarily derived inspiration from Japanese artist Tabaimo and his 2014 collection of Flow-wer prints which fused anatomy with botany. Primarily referenced from her own photography taken during her visits to the Royal College of Physician’s medicinal gardens and Chelsea Physic Gardens, the varied array of botanicals illustrated in her prints are subject to the organ represented.
The Medicinal Heart is the first in her series of botanical prints, and the source of inspiration for this article. The illustration features an array of botanical plants erupting from a network of anatomically accurate coronary arteries. Each botanical is carefully selected in coherence with the organ it treats. Conditionally, the variety of botanicals illustrated in the Medicinal Heart have origins in modern prescriptive cardiac medications. From including plants such as Digitalis Purpurea – a botanical used to create the drug digitoxin commonly used in the treatment of irregular heartbeats – to Papaver Somniferum – a botanical widely used in angina medication – Becky’s series of exquisite botanical illustrations occupy an intellectual depth many would overlook if positioned outside the Medicinal sphere.
Although art has the power to be observed and appreciated by any spectator, Becky affirmed when interviewed that her series of botanical illustrations resonated with a divided audience. The publishing of her prints received a remarkable response from many medical professionals all over the UK. Inspired by her turbulent career path, many of whom her artwork resonated with were also individuals that were able to relate to the emotions which drove Becky to pursue her artwork. Her artwork became an aperture for reflection and escapism. It provided a sense of hope for those similarly feeling anchored by the medical profession. Her artistic intent by no means is to discourage people becoming doctors or pursuing careers in medicine, but rather creating medically inspired illustrations reflective of her journey as a doctor turned artist.
Therefore, exceeding the scope of medicinal practice, Becky’s extensive medical knowledge pushes the boundaries of her artistic craft. By integrating her medical intellect into a creative medium, her prints occupy an educational value, consequently making her artwork so distinct. When in the presence of Becky’s series of botanical illustrations, one is not just a spectator, but a student. Exploring the unexpected intersections between two seemingly different disciplines, art and science, her art poses the question as to whether art should be recognised more academically as a source of visual education.
