After Paradise imagines a collection of used, souvenir biscuit tins as an ideal, perpetually blooming garden.
Where do we recognize paradise? What do we save?
Utopically pictured in most cultures as nature reordered, economic, instructional, and reassuringly, enclosed, paradise is also individually characterized by an illusive longing. Contemporary thinking cannot also escape questions of genetic engineering, sexual politics, colonialism, nationalism, and environmental responsibility. After Paradise considers this destabilized ideal in an interior space filled with nostalgic secondhand containers hoping to keep anxiety away.
Available in the Paradise Giftshop are collector postcards; Domestic Science, archival prints of favourite tins; and Paradise Tour Guides that interpret the installation as a collection, a garden and a souvenir.
Domestic Science continues my interest in the problem of naming through time. Floral images from the After Paradise collection are formally identified and inscribed with botanical latin, as well as by hand, with their common names. Both titles identify specific placements in science and history. They are species and cultivars found or bred, recognized through popular reproduction, used domestically, re-collected and identified again. Here an attribution can only be a best guess made from multiple old reference manuals as botanic names are updated over time with further genetic information, hybridization, or plants are no longer propagated and lost. Common names differ across the globe and at different times in different families. My story or your story may be privileged—a name found here, given by, used for, or be a reminder of something else.
Archival digital prints on Arches Aquarelle, 15" x 15", $250