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VASES WHERE NEW OPENINGS HAVE BEEN ADDED TO BOTH SINGLE VASES AND COMBINATIONS OF VASES, WHERE THE FLOWERS TRANSITION BETWEEN VESSELS.
THE VASES HAVE BEEN CAREFULLY COLLECTED AND SELECTED OVER A PERIOD OF TWO YEARS AND REPRESENT AN UNFILTERED STYLISTIC APPROACH TO THE ELEMENTS. A TIMELY REMINDER TO SEE AND FIND POTENTIAL IN THE EXISTING THINGS.
VASES AND FLOWERS ARE EXPLORED IN NEW COMPOSITIONS, WHERE THE STRUGGLE BETWEEN THE MANMADE VASES AND THE FRAGILE BLOOMS ARE BOTH FORCEFUL AND NATURAL. THE FLOWERS, WHICH ARE IMPRISONED AND SET FREE THROUGH THE HOLES IN THE VASE, ARE ALLOWED TO BEHAVE AND FORM WITH EASE, WHILE THEY CAN ALSO BE DELIBERATELY POSITIONED.
THERE IS A CLEAR REFERENCE TO THE JAPANESE ART OF THE FLOWER ARRANGEMENT IKEBANA, WHICH ALSO MEAN MAKING FLOWERS ALIVE. THESE “NEW” VASES ELEVATE AND SET THE STAGE FOR THIS FINAL PERFORMANCE OF THE FLOWER AND PROVIDE IMPLICIT INSTRUCTIONS IN TERMS OF PLACEMENT AND BALANCE IN THEMSELVES.
IN THEIR ARTISTIC PRACTICE PUTPUT, STEPHAN FRIEDLI AND ULRIK MARTIN LARSEN, EXPLORE OUR IMMEDIATE SURROUNDINGS AND THE OBJECTS WE USE, ABUSE, ADMIRE AND INTERACT WITH IN EVERYDAY LIFE. OFTEN ENTERING A NEGOTIATION OR INTERROGATION WITH SPECIFIC OBJECTS TO FULLY EXAMINE WHAT THEY ARE AND WHAT THEY MAY BECOME. IDEAS ARE EXHAUSTED, DISTILLED AND REFINED TO ACCOMPLISH WORKS THAT ARE SELF-EXPLANATORY, AMBIGUOUS AND PROFOUNDLY SUPERFICIAL.
