We were finally ready to begin.
To make the process as smooth as possible, we developed a simple but effective plan: the paintings would travel by road, and we would fly. Forty-one framed illustrations were carefully packed, loaded into a vehicle, and sent on their journey—handled with the utmost care at every stage.
What followed was an intense and unforgettable period. Constant packing and unpacking, installing exhibition spaces, welcoming visitors, speaking to the press, taking photographs—and, most importantly, engaging with people. At the heart of it all was a shared aim: to gently shift perspectives and raise awareness about orchid conservation.
Our exhibition marathon unfolded across China:
Xishuangbanna Tropical Botanic Garden — 2–10 July 2016
Wuhan Botanical Garden — 16–24 July 2016
Guangzhou Botanical Garden — 30 July–7 August 2016
Xiamen Botanical Garden — 13–21 August 2016
Beijing Botanical Garden — 27 August–4 September 2016
The response to the exhibitions was deeply encouraging. Although our schedule was tight and structured, limiting how much we could expand, we were still able to add an additional exhibition and a one-day workshop at Shenzhen Fairylake Botanical Garden.
These exhibitions were never intended simply to showcase the beauty of orchids. They were conceived as part of a wider research project—an opportunity to observe and understand human behaviour in relation to orchids, supported by a series of surveys.
THE BOOKLET
All About Orchid Project
June 2016
Before the exhibition marathon began, we designed and published a small booklet.
The intention was to share the project with a wider audience—something accessible that visitors could take with them, pass on, and help spread the message further. All proceeds from the booklet were dedicated to supporting Sophie Williams’ medical treatment.
During the exhibition marathon, we raised £980. A modest amount, perhaps—but meaningful, and given with generosity.
SURVEYS
November 2016
The first phase of our research took place during the exhibitions.
We collected responses from 1,367 visitors through a questionnaire. The survey gathered socio-demographic information—such as age, gender, region, and education—and explored what visitors had learned about wild orchids. Most importantly, it aimed to understand the motivations behind purchasing orchids collected from the wild.
The intention had been to follow this with a second phase of research, to deepen and strengthen the findings. Unfortunately, we were unable to reconnect with the original participants, and the follow-up stage could not be completed.
Despite this, the experience itself was invaluable.
As someone deeply committed to this field, I have always wanted to contribute to a greater awareness of plant conservation. Reaching such a wide audience through these exhibitions—and witnessing genuine engagement—was both rewarding and encouraging.
Perhaps most importantly, it confirmed something I have long believed:
That art has the power to reach people, to open conversations, and to carry the story of plants far beyond the page.
