botanical glitches









Botanical Glitches builds on the research conducted for Fragmented Flora—the material ramifications of digital space and the ways in which digital technologies mirror organic matter. This series is a collaboration with natural elements which utilizes a methodology that mixes analog and digital methods of making to digitally renders the physical manipulation of organic matter, representing the globalist / capitalist dependence on the digital. This series acknowledges our desire for affective presences (therefore the images utilize analog methods of making).

The scanner acts as the central photographic device instead of a device to process film in the pressed orchid pieces. This body of work is physical and extremely tactile. Time is a key element. The process cannot be rushed. If I rush the pressing of the orchids the glass breaks and I cannot get mood to spur and fester more quickly. I cannot get orchids to dry more quickly than they do naturally. To create the pressed orchid series the orchids are enclosed in glass—forcefully changed by pressure over time—scanned in the same manner as a film negative. The pieces of glass used to compress the orchids range in size between 4” x 6” and 8.5” x 11”; as the orchids flatten, they start to mold. The scanning process scales the image exponentially larger than the original; the result is visually like the nights sky. This methodology allows the microscopic bacterial process to appear like a cosmic phenomenon; conceptually, this references how small gests can influence larger systems.

To create the orchid glitches the orchids are dragged over the scanner bed while the scanner is running; these orchid glitches has been reinterpreted through large-scale ink and acrylic paintings. The process of dragging the orchids across the scanning bed is one of trial and error, as I cannot see the composition as it’s being formed. Utilizing digital techniques to inform a traditional medium demonstrates that time is not linear—the past and future inform the present.

As a fragile commodity (that is frequently shipped across the global) my floral subjects are inseparable from capitalism (specifically the effects of capitalism on agricultural labourers and the environment), and their presentation and dissemination (in my work specifically, but there are hung online florist communities) is intrinsically linked to the digital realm.














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