In artist Diana Scherer’s series Nurture Studies, she used soil, seeds, and photography to produce her work. Letting flowers grow in vases rather than the ground, she matured the plants and later broke the glass, exposing the dense roots that took the shape of their containers. They were then photographed at the peak of their lives; Flowers had bloomed, plants grew tall, and nearly all the flora was green.
Scherer’s work is visually very tight. The dirt is packed against the roots, and even out of their containers, the plants hold their shape. Although the plants look highly controlled, there is very little that Scherer can actually manipulate. Aint-Bad Magazine wrote about this Scherer’s photographs, highlighting this fact. They state:
There is an inherent contradiction in Scherer’s working method. Although she is dedicated to the project and keeps a close eye on whether the roots are developing as desired—checking them carefully and with the utmost precision—her ability to manipulate the plants’ growth is limited. She has to accept the impossibility of total control. This contrast between almost obsessive monitoring and an inability to fundamentally influence events becomes an intense, almost ritual presence in her work. Scherer’s photos are carefully rationed, showing a single moment as the culmination of a long process of growth.
Scherer’s presentation of the plants is very straightforward. There is no extreme lighting and the background is devoid of anything but a color. With the a series with the word “studies” in the title, I see Scherer’s work as specimens, the result of an exercise in timing, and, for lack of a better word, nurture. (Via Aint-Bad magazine)
Phoebe Washburn’s constructions, built from found or discarded objects such as plants, plywood, cardboard, or fish tanks, to name a few, have been gaining critical acclaim and momentum since 2008, when she took part in the coveted Whitney Biennial.
Of her craft and salvage, in W Magazine, Washburn states: “I’m not green; I’m greedy . . . There’s definitely an aspect of hoarding that drives this, absolutely! If I see someone walking down the street with a nice piece of wood, I’m like, Where did they get that?”
Her approach to discussing art is as playful and humble as the structures themselves, or their titles, which range from “Nunderwater Nort Lab” (above, top) to “Baby Brain (Not Safe for Use as Jacuzzi)” (above, below).
“AMKK is a company developing the experimental creation by Makoto Azuma, a flower artsit, whose subject is flowers and plants. The activities of AMKK aim to increase the existential value of plants by finding out the most mysterious figure only owned by flowers and plants and converting it to the artistic expression.”
Makoto Azuma’s work with plants are really extraordinary. Using plastic and real materials, he crafts furniture, installation, and sculpture with a particular natural, earthy aesthetic. Chairs made out of artificial turf, installations of leaves that seem to endlessly fold into themselves, and human/tree pseudo-mutations are just a few of the things he’s done so far. Azuma also runs an haute couture flower shop (I didn’t know such a thing existed) called Jardins des Fleurs in Tokyo. (via)
I really like how the isolation of the object and their illumination by the camera give the plants human characteristics- those not getting any love. The ones in our office are slowly resembling these :[