There is a conflict in the aesthetics of the cut flower. It is a living thing purposely severed and put on display through the abstraction of a vase. A flower vase has three primary objectives. The first is to hold water suspending the flower’s death.
The second, to position or pose the flower in a particular gesture. And lastly, to disappear, allowing the flower to be the prime figural focus. Considering this combination, a vase is actually closer to a support system or a base that sinks into the background.
The vases/bases developed for Base Flowers are a combination of five vase positions in one. The base can be arranged in multiple orientations to privilege one vase over another. The different positions have different character allusions that attempt to animate the neutrality of a common vase by bringing attention to the qualities of the vase itself.
This odd inversion of a vase which attracts more attention than the object displayed offered an opportunity to experiment with the flowers themselves. Base Flowers also developed five new flowers designed as mutant species somewhere between the floral, biological, geological and digital. These new flowers are primitive specimens, both in their aesthetics as a well as their digital origin. As such, they are not attempts to mimic any existing flower, but are instead the “base” flowers for an alternate understanding of floral aesthetics. The cut flower in a vase is an artificial construct, an abstracted fragment of nature, severed, re-contextualized, and posed for aesthetic contemplation.
Location: Volume Gallery, Chicago, IL.
Materials: Multimaterial 3-D print; resin; full-color sandstone.