“Gardening gives a back ratio about everything – except himself,” author May Sarton (1912-1995) wrote in her book Plant dreams deep (1968), A diary about discovering a love for taking care of the country. For Carly Glovinski (earlier), the sentiment about it occasionally something of one Raison d’être For the remarkable large -scale flower installation of the artist Massamoca.
Glovinski was mainly moved by Sarton’s book The house by the sea (1977), who follows the relocation of the author of New Hampshire to the sea coast of Maine. The liveliness of gardens led to the fascination of the artist for flowers, as the highlight recently in an extensive work entitled “Almanac”.
By celebrating the diversity and dynamics of flowers, the piece is investigating ideas about placemaking and the passing of time. “For Glovinski, the garden is a metaphor for folded time and perishable memories,” says an exhibition statement. Together with Sarton, the artist is also based on poet Emily Dickinson’s love for plants, so that literary reflections are being channeled about connecting with the simple pleasures – and sublime chaos – of nature.
“Almanac” takes its name from the annual guide who predicts the weather and A offers calendars for astronomical events, tides and plants. The piece took more than a year to complete and consists of hundreds of pressed flower paintings made with Wasse Acrylic paint on both sides of semi-transparent Mylar. The gestic brushes on transparent material evoke a feeling of lightness and delicacy, such as real petals that have been blown up to greater than life -sized size. Above the installation she has labeled segments with the months that the flowers appear.
Glovinski references pressed blossoms that she has grown, harvested or collected from friends, nodding to Emily Dickinson’s love for practice. (The poet created a stunning herbarium With 424 copies, gathered around her house in Amherst, Massachusetts.) “By observing, caring for and storing flowers, ‘Almanac’ becomes both a visual report of the seasons as a commentary on the work of care,” the museum says.
See more about Glovinski’s website And Instagram.
