{"id":157119,"date":"2016-07-22T13:15:01","date_gmt":"2016-07-22T06:15:01","guid":{"rendered":"http:\/\/blj.co.id\/?p=157119"},"modified":"2021-09-20T08:45:41","modified_gmt":"2021-09-20T01:45:41","slug":"dream-of-eden-rebecca-louise-law","status":"publish","type":"post","link":"https:\/\/www.blj.co.id\/index.php\/2016\/07\/22\/dream-of-eden-rebecca-louise-law\/","title":{"rendered":"Dream of Eden: Rebecca Louise Law"},"content":{"rendered":"

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(Business Lounge Jurnal – Art) Rebecca Louise Law is The British contemporary artist. Her father is a gardener and during her youth, two things inspired her to be a painter: Gardens and nature. So she studied Fine Art at university, exploring the possibilities of color and specializing in painting and printmaking at Newcastle University, UK.<\/p>\n

Later on, she felt dissatisfied with just painting, and decided to do something else: art installation. Always fascinated with gardens and nature, she chose flowers as the medium of her works. Her method is to always work with fresh flowers, or dried, rarely changing the stricture of the flower itself. Her installations are designed to start fresh, and dry slowly.<\/p>\n

\"The
The Canopy Installation, Melbourne, Australia (2016). Material: 150,000 mixed flowers.<\/figcaption><\/figure>\n

In what she described as an ambition to demonstrate the lifecycle of flora, her large scale works mostly featuring the lifecycle of flowers, evoking a sense of natural beauty and melancholy. According to her, every stage of a flower\u2019s lifespan can be appreciated, from seed to flower.<\/p>\n

Her artworks attracts big brands such as Herm\u00e8s, Max Mara, and Jimmy Choo. What is most refreshing about these commercial projects is \u2014 \u00a0that she has complete freedom on her work.<\/p>\n

Today, Living and working on and around Columbia Road, famous in UK for its weekend flower market, she found a lot of sources for inspirations<\/p>\n

\"Drying
Drying Sculture – House of St Barnabas, London (October 2015- June 2016). Materials: Mixed flowers, copper wire.<\/figcaption><\/figure>\n

BL: Business Lounge Journal<\/p>\n

RL: Rebecca Louise Law<\/p>\n

BL: If there is one thing, you would want us to know about you, what would it be?<\/p>\n

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RL: I love people.<\/em><\/strong><\/p>\n<\/blockquote>\n

BL: What is art for you?<\/p>\n

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RL: A platform to create without boundaries.<\/strong><\/em><\/p>\n<\/blockquote>\n

BL: What inspires you?<\/p>\n

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RL: I have always wanted to recreate an experience I had as a child. Sitting in a field of flowers in awe of nature. I love to share nature\u2019s beauty with the viewer and my installations are a snap shot of the natural world, I\u2019m always striving to create artworks that allow the viewer to observe and appreciate what we have been given on this Earth.<\/strong><\/em><\/p>\n<\/blockquote>\n

\"Roses
Roses Installation – The Garden Museum, London (2013). Materials: Roses, copper wire.<\/figcaption><\/figure>\n
\"The
The Flower Garden Display’d Installation – Fashion & Gardens, The Garden Museum, London (2014). Materials: Mixed flowers, copper wire.<\/figcaption><\/figure>\n

BL: What does it feel like, with your workplace literally surrounded by great quantity of flowers?<\/p>\n

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RL: When you are completely surrounded by flowers the feeling is fantastical.<\/em><\/strong><\/p>\n<\/blockquote>\n

BL: Tell us about your first large scale floral installation in 2003. What or who inspired you?<\/p>\n

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RL: \u2018Dahlia\u2019 2003 was my first large-scale installation using flowers. I had been experimenting with materials to create an overwhelming sense of colour in 3D. Previously I had specialised in painting and printmaking. I loved the process of trying to keep the work alive whilst it was dying and preserving became integral to the work.<\/em><\/strong><\/p>\n<\/blockquote>\n

\"Dahlia
Dahlia Series Installation (2003) – TIC Space, Newcastle. Materials: Dahlias, copper wire.<\/figcaption><\/figure>\n

BL: Is there any artists who inspires you?<\/p>\n

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RL: I love Kandinsky and Rothko. The freedom of colour and scale has always amazed me.<\/em><\/strong><\/p>\n<\/blockquote>\n

BL: What is your philosophy?<\/p>\n

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RL: The relationship between man and nature is central to my practice.<\/em><\/strong><\/p>\n<\/blockquote>\n

BL: Ever get a feeling of running out of ideas?<\/p>\n

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RL: Nature has always inspired me, from land to sea to sky I\u2019m in awe. Flowers have been a difficult material to control and I\u2019m still learning about the limitations of such an ephemeral material. I\u2019m yet to recreate what I experienced as a child and I\u2019m not sure if I ever will. For now I\u2019ll keep pushing flowers as my medium.<\/em><\/strong><\/p>\n<\/blockquote>\n

\"The
The Hated Flower Installation – Solo Exhibition, Coningsby Gallery, London (2014). Materials: Chrysanthemum, Carnations, coppper wire.<\/figcaption><\/figure>\n
\"The
The Yellow Flower Installation – Sasebo, Japan (2014). Materials: Chrysanthemum, copper wire.<\/figcaption><\/figure>\n

BL: Any works or installations that you wish you could ‘pour more’ into?<\/p>\n

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RL: I find it hard when commissioned by brands. Sometimes a brief can be too restrictive.<\/em><\/strong><\/p>\n<\/blockquote>\n

BL: What is your favorite work, so far?<\/p>\n

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RL: I had over 250 art assistants to help create \u2018Flowers: Outside In\u2019 at Viacom in New York. It was incredible creating an artwork made by so many people. I love bringing people together through my practice.<\/em><\/strong><\/p>\n<\/blockquote>\n