The Flower Collector
A performance and installation (2016) in collaboration with landscape architects Lin and Charlotte Horn. The project is develop together with artistic researcher Eduardo Abrantes. Curated by Anna Weber Henriksen for the 1-day exhibition the Marsh Land, Glostrup, Denmark.
A performance and installation (2016) in collaboration with landscape architects Lin and Charlotte Horn. The project is develop together with artistic researcher Eduardo Abrantes. Curated by Anna Weber Henriksen for the 1-day exhibition the Marsh Land, Glostrup, Denmark.
The Flower Collector is and performance and installation dealing with forensic research into printed floral patterns.
In The Flower Collector Maj Horn, together with her mother and sister, both landscape architects, investigates the morphology, history and use of the botanical species represented in some of the clothes she has worn over the years. Do we know their names? Where do they grow? What do they symbolize and how are they used? Can they be found together in nature as represented in the pattern?
Floral patterns became ubiquitous in western fashion from the late 17th century onwards, following the development of large-scale textile print techniques during the Industrial Revolution. Known in Europe and the Islamic world since the 12th century, the long and multi-faceted history of floral patterns goes back to China in the 1th century A.D., and is probably connected to a tradition of floral arrangement found in Egyptian civilization and all the way back to the Paleolithic Period (from 2 million - 10 000 years ago).
As a research into the multiple layers of meaning hiding in floral patterns, The Flower Collector takes place in a natural surrounding, in a context of inter-generational dialogue, shared curiosity, and personal narrative.
Photos: Eduardo Abrantes
Financial support: Glostrup Municipality
The Flower Collector is and performance and installation dealing with forensic research into printed floral patterns.
In The Flower Collector Maj Horn, together with her mother and sister, both landscape architects, investigates the morphology, history and use of the botanical species represented in some of the clothes she has worn over the years. Do we know their names? Where do they grow? What do they symbolize and how are they used? Can they be found together in nature as represented in the pattern?
Floral patterns became ubiquitous in western fashion from the late 17th century onwards, following the development of large-scale textile print techniques during the Industrial Revolution. Known in Europe and the Islamic world since the 12th century, the long and multi-faceted history of floral patterns goes back to China in the 1th century A.D., and is probably connected to a tradition of floral arrangement found in Egyptian civilization and all the way back to the Paleolithic Period (from 2 million - 10 000 years ago).
As a research into the multiple layers of meaning hiding in floral patterns, The Flower Collector takes place in a natural surrounding, in a context of inter-generational dialogue, shared curiosity, and personal narrative.
Photos: Eduardo Abrantes
Financial support: Glostrup Municipality