The Revenge of the Florist Nature Morte (still life) paintings can be found all the way back to Egyptian tombs and Greek dwellings. Artists strove to reproduce flora and fauna as realistically as possible, and the attempt to fool the eye (trompe l’oeil) was known as mimesis. These images did not imply a morality to mortality, until Christianity took hold. Jan van Eyck made more realistic paintings due to technical advances, which spoke a religious language, while Leonardo da Vinci, studied everyday objects of nature for scientific purposes. Since the earliest Christian depictions, flowers held religious meaning and the Victorians made floral language into an art, where each flower spoke loudly. My Nature Mortes made from coloured blown glass and cut flowers include the fourth dimension of time. Paintings of still lives attempted to bring time into them by depicting decay (rotting fruits, meat) and the mortality of the viewer (skulls). Here, the cut flowers slowly lose their bloom, and the glass containers cannot be shown without flowers in them. They are not vases. Each vessel speaks a coded language based on its colour (reflecting the 1970’s gay hanky code, e.g. red for fisting, purple for spanking) and the Victorian language of flowers (e.g. red roses for true love, hyacinth for forgiveness). Each glass receptacle is unique, as it is also a portrait of someone’s anus. I invited men and women on the internet to send an image of their sphincter for the basis of a portrait, as it is one sexual part of our bodies that we cannot easily visualize, and whose visage is similar for men and women. These works appear as simple floral arrangements in pretty vases but are also sexually explicit portraits that continually change. As with the Nature Mortes, for my 2005 series of Web Portraits, I asked men and women on the web to send me images of their anuses to form the basis of a portrait. Initially I took a piece of leather in the colour of the fetish they were most interested in (as in the glass works) and then hand sewed it into a portrait as similar to the image sent to me. As the originals images were photographs, these objects were also then photographed to form their final state. In all the web portraits (including those made based on ejaculates p.106) the images sent to me were confidential and destroyed after use. Equally there was no way to verify if the image sent was from the person claiming that identity, so the resultant portrait was a web portrait of who they identified with in the virtual world.
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Page 25: top: Blue Delphinium, blown glass, cut flowers, fresh and desiccated states, 2009 bottom: Pink Lilies, blown glass, cut flowers, fresh and desiccated states, 2009 Page 26: Orange Any, blown glass, cut flowers, fresh state, 2009 Page 27: Orange Any, blown glass, cut flowers, desiccated state, 2009 Pages 28: Purple Hyacinth, blown glass, cut flowers, fresh state, 2009 Pages 29: Purple Hyacinth, blown glass, cut flowers, desiccated state, 2009 All images from The Revenge of the Florist, Westbrook Gallery, London, 2009 Glass hot work: Liam Reeves, cold work: Anthony Harris Page 30: Web Portrait 7 (pink), 2005, sewn leather photographed, 150 x 150 cm (edition of 3) and 75 x 75 cm (edition of 10) Page 31: top left, Web Portrait 2 (blue), top right, Web Portrait 5 (orange), lower left, Web Portrait 9 (white), lower right, Web Portrait 1 (red), all 2005, sewn leather photographed, all 150 x 150 cm (edition of 3) and 75 x 75 cm (edition of 10)