The relationship between humankind and plants is extensive, complex and ambiguous. They are used as a component in medicine, food, houses and constructions, clothing, and in many other areas, and they are migrated to our spaces, imported by our culture and adopted in our lives.
The domestication of plants for decorative, ornamental, and recreational purposes is widespread, making its appearance in gardens, greenhouses, flowerbeds, pots or vases.
Within this relationship, the aesthetical function of plants imposes itself. Floral species transcend their living organism condition and their raw material properties to become a symbol of a connection with nature, even when this symbol is paradoxically materialized through artificial plants or illustration.
The world is a place filled with still lifes. In our cities and our houses, we can find a sort of intentional or circumstantial installations where plants, objects, and spaces coexist, establishing a dialogue with each other and with those who interact with them.
The presence of botanic elements, including their simulacrum and representations, seems to express a connection to our origin, a search for the lost paradise, a quest for a vestige of primordial virtuosity that we unconsciously and collectively want to recover.
Our fascination with plants sometimes makes us corrupt, despise, annihilate, or annul their living, natural essence. The manifestations of this fascination can be a way by which we try to return to the garden of Eden and, at the same time, a confirmation of the reasons that made us leave it in the first place.
Our coexistence with the domesticated vegetable kingdom demonstrates our best and our worst instincts. It shows the duality of a species that oscillates between mutualism and parasitism in its relationship with nature and its fellow living beings.
Dear Flora was started in February 2018 and it is an ongoing project.