This is a very personal project: its aim is to show that the darker sides of our personalities have a beauty and attraction. It also traces a personal journey taken by the artist whilst going through a difficult time in his life.
It takes as a starting point the Rimbaud poem “A Season in Hell” (along with others from Thomas, Bonney or Baudelaire, from whom the project takes its name) in order to create a collection of objects or flowers as a catalogue of feelings, or a pagan diary. Equally, what the author has done with Rimbaud’s poems or whichever other piece of art, is to talk about himself . The interchange with the work shows evidence of his fears and his dreams, acting like a mirror. It is a catharsis in the widest sense of the word. These flowers have the capacity to transform themselves, for the viewer into ritual objects, mnemonic objects – an object in which each person can deposit their feelings and make their presence and memory permanent. The evil flowers are emotional containers where we are able to download and deposit our anxieties and in another sense, our fetishes as they represent intangible emotions in a concrete form.
The main material used for this work is traditional embroidery. Each object is a complex composition that conflicts fragments of antique embroidery with modern embroidery created for this specific project. It consciously seeks the contrast between the innocence of the traditionally floral subjects with the motifs created to represent our darker sides, our anxieties and fears brought closer by our own morality. These latter motifs are synthetic, almost iconoclastic,) with the intended innocence reduced until all that is left is their essence, a cliché, an archetype.
This representation of the two sides is a constant throughout the whole project. Each piece seeks a balance and a tension, a feeling of conflict and an inner battle. It produces an internal friction between the good and the bad, between sin and remorse, between the past and the present. This conflict is reflected at a technical level. We have the old pieces that were embroidered by hand in their period, here selected and meticulously mounted and handcrafted in order to contrast with the elements embroidered in a more indefinite and brutal aesthetic style and that have been created using the informative process.
There is, in all this, a revindication of the official handcraft and of it capacity to created unique and imperfect objects. But this is in no way has an intention nor revisionary perspective; on the contrary, it applies combined and conflicting techniques with the latest technology. The past and the present, the handcraft with the technology, the innocent with the dark that constantly exist along side each other.
Some of the pieces are presented solitarily and others are assembled upon a black mass (background) a spleen that drowns and takes over the whole . The connection between the spleen and melancholy derives from Greek medicine and the concept of the “Four Humours”. The Greeks believed that the spleen secreted black bile in the body and this substance is associated with depression (melancholy).
The flowers are displayed to the audience, protected by a crystal dome. The use of the dome, as well as reinforcing the container idea, serves as a prop to the graphics created for the project. This is not a mere aesthetic function. It reinforces the validity of the decoration in its capacity to transform and tell us the history. Together, the schemes, annotations and sketches, interspersed with technical evidence, the process and texts have been the inspiration for the whole ( or the completed work. We do not seek to offer complete visions or conclusions, simply because we do not believe in them. The process is done on an ornamentation level, not for its decorative ability rather for its “limited” narrative capacity. Limited because, this information is captured in a disorganised dialogue. It is about a material that exists specifically for its seminal state, i.e. chaotic, having the capacity to sustain. It allows for thought association, including of errors and misunderstandings. Power is passed from the first to the third person and above all it incorporates the image of the subject, the unfinished, the provisional, because only the provisional is beautiful.
Unheimliche: term coined by Freud defines the feeling that it is evoked when something that should have remained hidden comes to light.