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FLOWERS IN FLUX


 
 
 

The project’s starting point is the creative potential of the ruins and their fragmented nature, which inarticulates spaces containing a range of differing perspectives and textures. I am interested in industrial ruins a well as iconic ruin of classical civilisation like the ones in Rome, though the ruins today for the most part are rendered suitable for a particular range of activities appearing as anachronisms more than active parts of present life.
 
The project is inspired by the research of the flora in Colosseum done by Richard Deakin in 1855 (Flora of the Colosseum of Rome). Back in time Colosseum did not appear as it does today, but was a wild unkept place. But still today the ruins of Colosseum create a unique miniature landscape in itself as plant diversity is conserved. There exists a great diversity of microhabitats, creating a wide variety of ecological conditions for plants, from wet, dark and cool in excavations to extremely xeric, irradiated and hot on top of walls.
 
As Deakin writes:”On the lower north side, it is damp, and favourable to the production of many plants, while the upper walls and accumulated mould are warmer and dryer, and… on the south side, it is hot and dry, and suited only for the growth of differently constructed tribes.” (Deakin, 1855: Vii PREFACE)
Through site specific observations in the Colosseum the project explores the unique miniature landscape of the ruins and the life hidden in the cracks linking the past and present.
 
Opposite the manicured landscapes the fragmented nature of the ruins makes room for glimpse of the past transgressing the boundaries between outside and inside, and between human and non-human spaces. As things falls apart new forms of growth emerge. It is a kind of recycling memory. As such in ruins the linearity of the history is perforated by intersecting temporalities, a landscape of juxtaposed asynchrounous moments, as cultural geographer Tim Edensor states*, fostering imaginative apprehensions and enabling an embodied somatic way of remembering sensed at the limit of the body surpassing the ordinary physical sensory system. This feeling is what the project tries to capture.

*(Edensor, Tim. Industrial Ruins. Space, Aesthetics and Materiality,2005)
 
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