Grey Cube Gallery proudly presents the seventh Botanicals online art show for the month of May 2026. The show encompassed a range of artistic styles and mediums (colored pencil, acrylic, oil, watercolor, collage, photography, digital art, charcoal, ceramic, stainless steel). Each submission has been judged based on the following elements of artistic expression: orginality and quality of art, overall design, creativity, interpretation of the theme, demonstration of artistic ability and usage of medium. Out of all entries, 53 artworks were shortlisted for inclusion in the show. The competition attracted entries from many countries across the world: Belgium, USA, Australia, Canada, UK, Norway, Switzerland, Hungary, France, Poland and Taiwan. Enjoy the show and thank you for expressing an interest in our competition.

I love walking through the woods, parks, and gardens searching for a glimpse of nature consisting of a little something extraordinary, what I call ‘a purple leaf’ or inspiration, for my natural still life colored pencil artworks. I am fascinated by natural objects composed by nature, time, and conditions that reveal this uniquely beautiful but seldom noticed natural world. The aesthetic beauty of leaves, diverse in types, shapes and colors, combined with elements of earth, water and stone, are my purple leaf or inspiration guiding my artistic journey to discover and share nature's serenity. Frank Lloyd Wright said it best: “Study nature, love nature, stay close to nature. It will never fail you.” While the foliage of woodland trees keeps me returning to the natural world, it’s the beautiful organic lines, the rich earth colors, the dramatic lighting, and the interesting textures that keep me there. I love to hear the sound of leaves rustling in the wind, the smell of rich moist soil, and an overall feeling of tranquility while walking through nature. Nature does not stand still but I strive to capture the special moments of beauty, of absolute wonder, and serenity of nature in my still life artworks.

As a human and an artist, I am fascinated by the underlying fabric of the living world. Call it botanicals, or living tissue, or the skin of ther earth? Images switch between forest views and intimated close-ups. Testimonies of precious experience and time spent in nature. Root systems, canopy structures and lichen are the star players in the spectacle. They show that no void is permitted in the living world. As Aristotle already knew: 'nature abhors the vacuum'. The forest emerges as a breathing whole in constant movement: plant becomes tree becomes soil becomes plant. In the words of the famous chemist Lavoisier: nothing is lost, nothing is created, all is transformed.' It's chemistry, indeed. A lush rainforest that unfolds in vibrant colour, every surface alive with moss and moisture. A fallen tree, still glistening from winter’s moisture. A forest's canopy where stillness reigns , yet everything pulsing with life. Large-scale pencil drawings demand patience, care and attention. And yet- how much time does nature itself take before a flowerbed comes into ,bloom, before a tree rises and crowns itself towards the sky? In addition, oil painting is is particularly suited to larger paintings depicting the forest. It allows to work faster, unplanned, with a loose grip, much like a branch finding its way towards the light. The theme of remembered nature, and of growth that endlessly returns, runs quietly through this practice.

As a human and an artist, I am fascinated by the underlying fabric of the living world. Call it botanicals, or living tissue, or the skin of ther earth? Images switch between forest views and intimated close-ups. Testimonies of precious experience and time spent in nature. Root systems, canopy structures and lichen are the star players in the spectacle. They show that no void is permitted in the living world. As Aristotle already knew: 'nature abhors the vacuum'. The forest emerges as a breathing whole in constant movement: plant becomes tree becomes soil becomes plant. In the words of the famous chemist Lavoisier: nothing is lost, nothing is created, all is transformed.' It's chemistry, indeed. A lush rainforest that unfolds in vibrant colour, every surface alive with moss and moisture. A fallen tree, still glistening from winter’s moisture. A forest's canopy where stillness reigns , yet everything pulsing with life. Large-scale pencil drawings demand patience, care and attention. And yet- how much time does nature itself take before a flowerbed comes into ,bloom, before a tree rises and crowns itself towards the sky? In addition, oil painting is is particularly suited to larger paintings depicting the forest. It allows to work faster, unplanned, with a loose grip, much like a branch finding its way towards the light. The theme of remembered nature, and of growth that endlessly returns, runs quietly through this practice.

Jason Shih was born in 1972 in Taiwan. In 1991, he began to specialize in metal sculpture when he was a sophomore in the Fine Arts Dept. of Taipei National University of the Arts. In 2001, he graduated from School for American Crafts, Rochester Institute of Technology, USA, and majored in Metal Sculpture. And then, he served as the metal sculptor Albert Paley's assistant, involved in crafts and public art work practices. Furthermore, he earned his Art Ph. D. from China Academy of Art, China (2015). Now, he lives in Taiwan, and consistently engages in the both areas of sculpture and public art. Jason Shih’s artistic vision is shaped by a diverse array of influences, from contemporary dance to avant-garde fashion. He cites German choreographer Pina Bausch and British designer Alexander McQueen as significant inspirations. Bausch’s explorations of time and space resonate with Shih’s interest in sculpture’s capacity to embody kinetic energy and spatial imagination. McQueen’s innovative approach to contemporary imagery and themes provides Shih with a broad canvas for creative expression. Shih’s work is also influenced by the aesthetic principles of Futurism and Constructivism, movements that emphasize dynamic energy and continuous motion. These influences are evident in his pursuit of capturing the beauty of movement and the elegant restraint of natural forces. Shih’s sculptures often depict moments of defying gravity, capturing the fleeting beauty of motion in a static form.