Materials: glazed clay tiles
In the installation "Bright Future with Natives" I explore at the intuitive level what I have observed in our human species: an admiration for order and control (square, neat edges), and bright colors. I have always been both intrigued and annoyed by the minimalistic art form where color and shape is repeated in a very uniform pattern; the simplicity feels sophisticated and calming, while at the same time so alien. This extreme symmetry I have rarely observed in nature. It is very much like our typical urban landscape, where plants are planted only to have them severely cut into squares, spheres and other fanciful shapes and contortions so we can admire ourselves and our human ability to control and keep things manicured. This type of landscape is so pervasive that we consider it "normal" and don't question it. Very rarely is there thought given to where the plant originated. Is it a native or exotic and what does it benefit? My research informs me that nature preserves are not enough. If we really care about the biodiversity needed to support our own species, we need to rethink all our landscapes, especially in our urban areas that are taking up more and more real estate. How do I plant enough native plants in my urban yard for the biodiversity needed and not have it look like a wilderness? I explore this aesthetic paradigm shift in "Bright Future with Natives." The shapes are square, the edges neat and the bright colors are immediate and appealing. These characteristics are contrasted with the variety and uneven shapes and sizes of the native plant impressions. The size of the square is dictated by the plant being pressed. With each square a different size, it is impossible to install them in a symmetrical pattern; like the nuances of biodiversity, it is about balanced asymmetry.
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