Insect Poetics - Antennae The Journal of Nature in Visual Culture

size are perfect ingredients for the season’s coffee
table. Surely the quality of the images plays a big role in
the appeal of the book, but we also believe that the
systematic approach employed in the taking if the
photographs is what really makes these volumes
special. Both present beetles in a pseudo-entomological
way. Subjects are not contextualised neither
dramatised. Exception made for the absence of the
traditional pin transfixing elytrae, the simplicity of
composition and consistency of approach clearly echo
the pragmatic rhythms and parameters of the
entomology display cabinet. Although this is evident,
Ruth Kaspin, writer of the introduction to the first
volume explains that: “With 350,000 identified species
within 166 families, beetles represent one in five living
species on earth, and one in four of all animal species.
Any attempt to show them all would be an impossible
task. This collection cannot come close to being a true
representative sampling of all beetles, or all beetle
families; it is merely a showcase of a few of the most
beautiful and most readily available to collectors. Nor
is this book an entomology text. Given that the subject
is so enormous and diverse, scientific treatments are
necessarily very specific, with volumes devoted to data
concerning a single genus or species.” Whilst we
understand the necessity to stress that Jewels is not an
entomological text in the way that it does not share
the aims and methods of the academic sample, it is
difficult to ignore the fact that the images offer an
experience which is more similar to the viewing of
entomology display cabinets than that offered by the
traditional wildlife illustrate book.
We interviewed Poul Beckmann to understand
if this is just a coincidence.
Can the photographs in Living Jewels 1 and
2 be seen as a substitute to the traditional
display cabinets of Natural History
Museums?
Our books remove the glass barrier of the display case
and add the dimension of magnification, but we don't
see them as an alternative to natural history museums.
The natural history museum presents animal specimens
within the frame of reference of their place on earth;
their function in the grand scheme of things as
predator or prey, pollinator or parasite, how they
interact with other species, and how they harm or
benefit our human enterprises.
Conversely, we have chosen to take the order
Coleoptera, the beetles, and present them outside
their context, concentrating on their visual appeal and
the amazing diversity of their forms, colours and
patterns. In the mode of the ancient cabinet of
curiosities, we’re going for the wow factor, the sense
of awe and wonder that may be the catalyst for further
study and investigation.
We are avid museum goers and we must give
credit to museums for igniting our initial fascination
with beetles. It is our hope that these books may
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generate a few sparks of interest for our readers.
Could you describe your approach to
documenting beetles as scientific?
We attempt to present these animals as they are, as
accurately as possible. There is no manipulation of
their own natural appearance, no heightening of color
or contrast. None is necessary. Their beauty requires
no enhancement.
Our approach is primarily aesthetic; that is, we are
interested in the most intricate patterns, the most
various surface qualities - metallic, or iridescent, or
matte and velvet-like, and the most grotesque forms of
horns, antennae, and body shapes.
Are the beetles you have photographed dry
specimens or alive insects?
They are all dried specimens. What remains of a
beetle, post mortem, is exoskeleton and wing sheaths
do not fade or change color. Our collection includes
beetle species from all over the world. Most exotic
species are not available to us as live specimens as
there are stringent restrictions against importing live
insects into California and there are also a great many
nations that restrict the exportation of their native
species.
Poul Beckmann
Euchroea auripiment