In developing the concept for Blue Flower, the first thing that came to mind is the struggle with the un-chosen condition of one’s life that we all experience, the persistence of which sets the stage for self-crafting or transformation and requires inventiveness or expansion.
The concept for Blue Flower was a personal attempt at constructing an analytical memory of a collective experience: the iteration of some generic biological form — that is, to transform time into a set of spatial orders using some kind of tangible interface and relating this past document to the present of a here and now. Essentially the idea was to attempt to arrest time, to stop all motion in an effort to create a little institution to make it possible to access a frozen section of past time while confronting the question of mobility through structural metaphor: a sculptural animation.
The personal objective was philosophical: can we take a closer look at the nature of this motion, its background and genesis? This work reflects an interest in Derrida’s discussion of archive fever: the human desire for finding a beginning, an ultimate source, a stable ground. As well, this piece also reflects on the Freudian notion of the psyche as a system: one that is unreliable in that time both protects and hides, both collects and forgets — in the same operation. The sculpture “Blue Flower” takes this idea and aligns it with the essence of a solitary flower; living its life where it blooms. Through symbolic iteration, this sculpture quietly leads to a sense of the expansion and transformation inherent in a flower.
PERMANENT PUBLIC INSTALLATION | UNESCO Icheon, Korea