Vanitas is a genre of still life painting that flourished in the Netherlands during the 17th century intended to communicate the fleeting, temporary, and finite nature of life.
Photographs in their own way are a documentation of a moment caught in time that we can look back on with nostalgia.
In this series of paintings, I combine the two: bisected photographic portraits flowing into vanitas flower paintings. Reminding us symbolically of the transient nature of our existence.
Dutch painters reacted to the rise in wealth during the 1600s to create paintings using common and recognizable symbols such as skulls, lit and extinguished candles, books, playing cards, goblets of wine, jewellery, hour glasses, flowers, wine, world globes and musical instrument to express that there was more to life than worldly trinkets; enjoy the present with the pleasure that earthly goods bring but remember the material world is not as long-lived as the spiritual. Thus, one is encouraged to not only consider one’s mortality but how to live a more considered life.
Flowers were becoming highly prized, desirable status symbols for the wealthy. Newly appreciated for their beauty and fragrance rather than as herbs or medicine. Botanists and gardeners sought the rarest specimens imported from overseas trade. The symbolism is more subtle in floral compositions than other vanitas paintings – flowers shown from bud through to full bloom are symbols of beauty, youth and pleasure whilst their wilting forms with various leaves nibbled by insects, remind us of life’s brevity. To balance this, wheat stalks, laurel leaves, sprigs of ivy, caterpillars and butterflies evoke redemption and resurrection. When depicted, the tulip, considered the most exotic, would act as a warning against the over extension of wealth/avarice since the tulip crash of 1637 resulted in the financial ruin of many.
Despite the illusion of reality, many bouquets could have never have actually existed, as the various flowers would have bloomed in different seasons.
In Vanitas I, I have recreated a painting by Rachel Ruysch juxtaposed with a young woman from the 60s or 70s. Ruysch specialized in painting flowers, creating her own style. She achieved international fame during her lifetime.
I find it remarkable that using a small letterbox detail of a portrait photograph one can identify the era it was taken. The 60’s or 70s young woman with her long lashes and choppy haircut, along with the sepia colour of the photograph are all the clues that are needed.
Connecting the two images together, the line of the woman’s cheek follows through to the vase of flowers below whilst the burnt sienna ground, glimpsed under her lashes, echoes the marigolds’ glowing warmth below. My intention is for there to be a very loose suggestion of facial features amongst the flora. Something the viewer is left to decern. As one era blends into another, connections are inferred that might not at first be apparent.
The very complexity and detail of the composition lends itself well to the conceptual leanings in my art practice, encouraging a discourse around time not only through the interpretation of a finished piece but the consideration of the process itself, how long the painstaking application of paint takes and the meditative state of mind that that process engenders.
How long it takes to acquire a skill, then the time taken to accomplish the task, brings to mind the phrase. Ars longa, vita brevis: art is long, life is short – meaning, the learning of one’s craft/profession can take years and years of dedication, a single lifetime might not be enough.