SDMA | Floral Interpretations: First Floor (Galleries 1-15) - San Diego Museum of Art

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December Nights returns Friday, December 6 and Saturday, December 7. The Museum will be closed daytime hours both days, but open and free to the public 5:00–9:00 p.m. both evenings. Learn More

Virtual Art Alive 2020 welcomes the below creative “floral” designs from our official designers using flowers and items from home. Thank you to our designers!

The Edge of the Forest by Theodore Robinson interpreted by Lynda Cho

Materials Used: Faux orchids and preserved mosses.
Floral Designer Statement: “My inspiration was from my original art work which was the painting of the forest. Different hues of green with utilization of natural mediums was expressed to create the forest motif of my design.”
SDMA Collection: Theodore Robinson. The Edge of the Forest, ca. 1887-1892. Oil on canvas. Gift of Mrs. Robert Smart. 1931.38.
Gallery 1

Materials Used: Faux orchids and preserved mosses.
Floral Designer Statement: “My inspiration was from my original art work which was the painting of the forest. Different hues of green with utilization of natural mediums was expressed to create the forest motif of my design.”
SDMA Collection: Theodore Robinson. The Edge of the Forest, ca. 1887-1892. Oil on canvas. Gift of Mrs. Robert Smart. 1931.38.
Gallery 1

The Young Mother by Bessie Potter Vonnoh interpreted by Lauren Jones

Materials Used: Local garden flowers and copper wire.
Floral Designer Statement: “My inspiration was my own beautiful babies and my endless love for them. Since we’ve been home bound, daily walks with them have become something I look forward to as much as our time rocking in the rocking chair. We clipped these flowers on our walk together and it felt serendipitous to create my interpretation with them in tow.”
SDMA Collection: Bessie Potter Vonnoh. The Young Mother, 1896. Bronze sculpture. Museum purchase with funds provided by the San Diego County Federation of Women’s Clubs. 1929.12.
Gallery 2

Materials Used: Local garden flowers and copper wire.
Floral Designer Statement: “My inspiration was my own beautiful babies and my endless love for them. Since we’ve been home bound, daily walks with them have become something I look forward to as much as our time rocking in the rocking chair. We clipped these flowers on our walk together and it felt serendipitous to create my interpretation with them in tow.”
SDMA Collection: Bessie Potter Vonnoh. The Young Mother, 1896. Bronze sculpture. Museum purchase with funds provided by the San Diego County Federation of Women’s Clubs. 1929.12.
Gallery 2

Kilauea Caldera, Sandwich Islands by Jules Tavernier interpreted by Valli Reed

Materials Used: Palm bark, dental willow, aloe, roses.
Floral Designer Statement: “To show the line and movement of the art work using garden materials and found things.”
SDMA Collection: Jules Tavernier. Kilauea Caldera, Sandwich Islands, 1886. Oil on canvas. Museum purchase with funds provided by Kevin and Tamara Kinsella. 2002.35.
Gallery 2

Materials Used: Palm bark, dental willow, aloe, roses.
Floral Designer Statement: “To show the line and movement of the art work using garden materials and found things.”
SDMA Collection: Jules Tavernier. Kilauea Caldera, Sandwich Islands, 1886. Oil on canvas. Museum purchase with funds provided by Kevin and Tamara Kinsella. 2002.35.
Gallery 2

Elizabeth Crowell with a Dog by Thomas Eakins interpreted by Alice Sharp

Materials Used: Plexiglas, plastic, fiberglass.
Floral Designer Statement: “[My inspiration was] to capture the essence of Elizabeth.
It was interesting to create an image by thinking outside the box.”
SDMA Collection: Thomas Eakins. Elizabeth Crowell with a Dog, ca. 1871. Oil on canvas. Museum purchase and a gift from Mr. and Mrs. Edwin S. Larsen. 1969.76.
Gallery 2

Materials Used: Plexiglas, plastic, fiberglass.
Floral Designer Statement: “[My inspiration was] to capture the essence of Elizabeth.
It was interesting to create an image by thinking outside the box.”
SDMA Collection: Thomas Eakins. Elizabeth Crowell with a Dog, ca. 1871. Oil on canvas. Museum purchase and a gift from Mr. and Mrs. Edwin S. Larsen. 1969.76.
Gallery 2

Aluminum Horse #5 by Deborah Butterfield interpreted by Erika Holly

Materials Used: Dried baby’s breath, dried vines and wires.
Floral Designer Statement: “Inspired by the captivating beauty of the Aluminum Horse art piece, I created a sculpture made out of dried grapevine, rustic wire and used dried baby’s breath for texture. It’s always a pleasure designing a piece for Art Alive because it’s my greatest endeavor to promote floral design as a form of art.”
SDMA Collection: Deborah Butterfield (AKA Deborah Kay Butterfield) Aluminum Horse #5, 1982. Steel and aluminum sculpture. Museum purchase. 1990.7.
SDMA Vault, historically Gallery 2

Materials Used: Dried baby’s breath, dried vines and wires.
Floral Designer Statement: “Inspired by the captivating beauty of the Aluminum Horse art piece, I created a sculpture made out of dried grapevine, rustic wire and used dried baby’s breath for texture. It’s always a pleasure designing a piece for Art Alive because it’s my greatest endeavor to promote floral design as a form of art.”
SDMA Collection: Deborah Butterfield (AKA Deborah Kay Butterfield) Aluminum Horse #5, 1982. Steel and aluminum sculpture. Museum purchase. 1990.7.
SDMA Vault, historically Gallery 2

Three Pigs and a Mountain by George Wesley Bellows interpreted by Rose Mizrahi

Materials Used: Natural flowers, moss, driftwood, babysbreath, green ponpon, three little pigs of ceramic, wild flowers, pine cone.
SDMA Collection: George Wesley Bellows. Three Pigs and a Mountain, ca. 1922. Oil on board. Gift of Michael and Dru Hammer, The Armand Hammer Foundation. 2000.83.
Gallery 3

Materials Used: Natural flowers, moss, driftwood, babysbreath, green ponpon, three little pigs of ceramic, wild flowers, pine cone.
SDMA Collection: George Wesley Bellows. Three Pigs and a Mountain, ca. 1922. Oil on board. Gift of Michael and Dru Hammer, The Armand Hammer Foundation. 2000.83.
Gallery 3

Flying Apsaras interpreted by Jeff Fine

Materials Used, Interpretation 1: Grape wood branch, date palm branch, cane, and protea.
Materials Used, Interpretation 2: Dried winterberry, palm, protea, wrapping paper, cane, ribbon.
Floral Designer Statement, Interpretation 1: “My inspiration was so show the movement and shape of the flying apsaras.”
Floral Designer Statement, Interpretation 2: “Focusing on the movement and airiness of the flying apsaras. Over all arrangement is asymmetrical (ikebana style).”
SDMA Collection: Flying Apsaras, 17th century (or 18th century). Wood, with trace of colors. Museum purchase with funds provided by the Barbara and William Karatz Fund in memory of Barbara L. Karatz. 2001.1.
Gallery 7

Materials Used, Interpretation 1: Grape wood branch, date palm branch, cane, and protea.
Materials Used, Interpretation 2: Dried winterberry, palm, protea, wrapping paper, cane, ribbon.
Floral Designer Statement, Interpretation 1: “My inspiration was so show the movement and shape of the flying apsaras.”
Floral Designer Statement, Interpretation 2: “Focusing on the movement and airiness of the flying apsaras. Over all arrangement is asymmetrical (ikebana style).”
SDMA Collection: Flying Apsaras, 17th century (or 18th century). Wood, with trace of colors. Museum purchase with funds provided by the Barbara and William Karatz Fund in memory of Barbara L. Karatz. 2001.1.
Gallery 7

Bodhisattva interpreted by Marina Khudobina

Materials Used: Pine branch and cone, jasmine vines, clivia leaves, sago palm leaf.
Floral Designer Statement: “I have used big long gold-colored pine cone as crowned face of Bodhisattva. Sago leaf with pine branch is for body and leaves of clivia as hands. Both leaves (hands) point in opposite directions. I used Jasmine vines to make the color of the arrangement closer to the statue color. I placed a tall transparent vase inside of a large oval bottom vase to express the Buddhas sitting position. Golden wrap around the oval bottom vase is used to bring color similar to the original art work.”
SDMA Collection: Bodhisattva, China, ca. 569. Limestone, with trace of color pigment. Bequest of Mrs. Cora Timken Burnett. 1957.469.
Gallery 7

Materials Used: Pine branch and cone, jasmine vines, clivia leaves, sago palm leaf.
Floral Designer Statement: “I have used big long gold-colored pine cone as crowned face of Bodhisattva. Sago leaf with pine branch is for body and leaves of clivia as hands. Both leaves (hands) point in opposite directions. I used Jasmine vines to make the color of the arrangement closer to the statue color. I placed a tall transparent vase inside of a large oval bottom vase to express the Buddhas sitting position. Golden wrap around the oval bottom vase is used to bring color similar to the original art work.”
SDMA Collection: Bodhisattva, China, ca. 569. Limestone, with trace of color pigment. Bequest of Mrs. Cora Timken Burnett. 1957.469.
Gallery 7

Amida Buddha interpreted by Melissa Cummings

Materials Used: A barbecue and plants from my backyard.
Floral Designer Statement: “My inspiration was the Buddha.I wanted to create a peaceful image using what I had and the help of my 3 and 5 year olds! To keep them creative and busy with mom during the quarantine time. We used the
Barbecue as the base and shape. We also used elm tree, honeysuckle, succlants, lavender, mint, a large palm leaf and ivy to name a few.”
SDMA Collection: Amida Buddha, Japan, 17th century. Wood. Bequest of Mrs. Cora Timken Burnett. 1957.446.
Gallery 7

Materials Used: A barbecue and plants from my backyard.
Floral Designer Statement: “My inspiration was the Buddha.I wanted to create a peaceful image using what I had and the help of my 3 and 5 year olds! To keep them creative and busy with mom during the quarantine time. We used the
Barbecue as the base and shape. We also used elm tree, honeysuckle, succlants, lavender, mint, a large palm leaf and ivy to name a few.”
SDMA Collection: Amida Buddha, Japan, 17th century. Wood. Bequest of Mrs. Cora Timken Burnett. 1957.446.
Gallery 7

Manjusri Seated on a Lion interpreted by Pat Crisafulli

Materials Used: Twigs, crape myrtle and palm bark.
Floral Designer Statement: “I used what materials I had a home.”
SDMA Collection: Manjusri Seated on a Lion, China, late 12th century-early 13th century. Marble. Gift of Admiral Charles K. Duncan in memory of Sheila T. Duncan. 1985.68.
Gallery 7

Materials Used: Twigs, crape myrtle and palm bark.
Floral Designer Statement: “I used what materials I had a home.”
SDMA Collection: Manjusri Seated on a Lion, China, late 12th century-early 13th century. Marble. Gift of Admiral Charles K. Duncan in memory of Sheila T. Duncan. 1985.68.
Gallery 7

Polo Player interpreted by Suzette Peterson

Materials Used: Lamb skin, twine, dandelion, garden succulents, Spanish moss, long grass.
Floral Designer Statement: “I was inspired by the piece I chose in the Museum earlier of the sculpture of the Polo Player in gallery 7. I loved the new challenges of having to find things around my home to create this piece. It really gave me a sense of purpose during this challenging time. I am so very happy to have an opportunity to share it with all of you. Even in times of hardship anything is possible!!! What we make of it can be remarkable, because we did our best to find a new approach….”
SDMA Collection: Polo Player, China, 7th century. Earthenware. Museum purchase with funds provided by the Helen M. Towle Bequest. 1938.12
Gallery 7

Materials Used: Lamb skin, twine, dandelion, garden succulents, Spanish moss, long grass.
Floral Designer Statement: “I was inspired by the piece I chose in the Museum earlier of the sculpture of the Polo Player in gallery 7. I loved the new challenges of having to find things around my home to create this piece. It really gave me a sense of purpose during this challenging time. I am so very happy to have an opportunity to share it with all of you. Even in times of hardship anything is possible!!! What we make of it can be remarkable, because we did our best to find a new approach….”
SDMA Collection: Polo Player, China, 7th century. Earthenware. Museum purchase with funds provided by the Helen M. Towle Bequest. 1938.12
Gallery 7

Tripod Plate interpreted by Mary Anne Mertz

Materials Used: Palm bark, locally sourced plant material and amethyst crystals.
Floral Designer Statement: “I utilized, obviously what was available to me. I had to go with only non monetary materials. Everything in the piece is either locally grown, thanks to our rain, or from my personal collection.”
SDMA Collection: Tripod Plate, China, 618-906. Silver. Bequest of Mrs. Cora Timken Burnett. 1957.436.
Gallery 7

Materials Used: Palm bark, locally sourced plant material and amethyst crystals.
Floral Designer Statement: “I utilized, obviously what was available to me. I had to go with only non monetary materials. Everything in the piece is either locally grown, thanks to our rain, or from my personal collection.”
SDMA Collection: Tripod Plate, China, 618-906. Silver. Bequest of Mrs. Cora Timken Burnett. 1957.436.
Gallery 7

Hanging Scroll by Mugaku Bun’eki interpreted by Nancy Tagwerker

Materials Used: Mexican fan grass, California Poppies, 3 different, salvias, dusty miller, vinca major.
Floral Designer Statement: “The Artist, Mugaku Bun’eki, created a beautiful representation of a dragon. I saw so much movement in his painting. I wanted convey the feeling of a dragon moving thru a landscape. I imagined the dragon as being a colorful creature.”
SDMA Collection: Mugaku Bun’eki. Hanging Scroll, after 1874. Ink on paper. Gift of Gordon J. Brodfuehrer. 2010.65.
Gallery 8

Materials Used: Mexican fan grass, California Poppies, 3 different, salvias, dusty miller, vinca major.
Floral Designer Statement: “The Artist, Mugaku Bun’eki, created a beautiful representation of a dragon. I saw so much movement in his painting. I wanted convey the feeling of a dragon moving thru a landscape. I imagined the dragon as being a colorful creature.”
SDMA Collection: Mugaku Bun’eki. Hanging Scroll, after 1874. Ink on paper. Gift of Gordon J. Brodfuehrer. 2010.65.
Gallery 8

Vase interpreted by Laura Vavrunek

Materials Used: Hydrangeas, roses, carnations, delphinium, greens.
Floral Designer Statement: “The bold red and blue colors found in the cloisonne style vase were the focal points of my inspiration. I used round shaping of the flowers to represent the curvilinear shape of the vase and integrated horizontal and vertical lines to mimic the artistry in the design.”
SDMA Collection: Vase, Japan, ca. 1910. Cloisonné. Gift of Mrs. Eleanor B. Parkes and Jene E. Bell and commemorating the Silver Jubilee Celebration of Fine Arts Society. 1950.68.a.
Gallery 8

Materials Used: Hydrangeas, roses, carnations, delphinium, greens.
Floral Designer Statement: “The bold red and blue colors found in the cloisonne style vase were the focal points of my inspiration. I used round shaping of the flowers to represent the curvilinear shape of the vase and integrated horizontal and vertical lines to mimic the artistry in the design.”
SDMA Collection: Vase, Japan, ca. 1910. Cloisonné. Gift of Mrs. Eleanor B. Parkes and Jene E. Bell and commemorating the Silver Jubilee Celebration of Fine Arts Society. 1950.68.a.
Gallery 8

Inro, Netsuke, and Ojime interpreted by Vita Reivydas

Materials Used: Brass containers, kiwi vine, pampas grass, palms, eucalyptus, clover, ferns, lotus pod, thistle, astrantia, lunaria.
Floral Designer Statement: “I was inspired by the delicate decoration and subtle coloring on this solid container. It seemed as though the decorative accents were floating off of their foundation. I also loved the juxtaposition of the soft pampas grass tassel I incorporated, compared to the ivory ornament in the original work.”
SDMA Collection: Inro, Netsuke, and Ojime, Japan, 19th century. Lacquered wood, ivory, and textile. Gift of Mr. Franklin L. Miller. 1965.15.f.
Gallery 8

Materials Used: Brass containers, kiwi vine, pampas grass, palms, eucalyptus, clover, ferns, lotus pod, thistle, astrantia, lunaria.
Floral Designer Statement: “I was inspired by the delicate decoration and subtle coloring on this solid container. It seemed as though the decorative accents were floating off of their foundation. I also loved the juxtaposition of the soft pampas grass tassel I incorporated, compared to the ivory ornament in the original work.”
SDMA Collection: Inro, Netsuke, and Ojime, Japan, 19th century. Lacquered wood, ivory, and textile. Gift of Mr. Franklin L. Miller. 1965.15.f.
Gallery 8

Meiping Vase interpreted by June Meehan

Materials Used: Acrylic paint on canvas.
Floral Designer Statement: “My chosen work of art was a Chinese Ming vase, elegant and simple. My inspiration was from the graceful curved lines of the piece which I strived to recreate with the surrounding branches in my painting. I think of spider mums as they are often represented in Chinese art.”
SDMA Collection: Meiping Vase, China, 1403-1424. Jingdezhen ware. Bequest of Emile Leonard Schoppe. 1953.37.
Gallery 8

Materials Used: Acrylic paint on canvas.
Floral Designer Statement: “My chosen work of art was a Chinese Ming vase, elegant and simple. My inspiration was from the graceful curved lines of the piece which I strived to recreate with the surrounding branches in my painting. I think of spider mums as they are often represented in Chinese art.”
SDMA Collection: Meiping Vase, China, 1403-1424. Jingdezhen ware. Bequest of Emile Leonard Schoppe. 1953.37.
Gallery 8

Ho Hsien-ku (with lotus flowers) interpreted by Catherine Nguyen

Materials Used: White mini carnation and white monte casino flowers.
Floral Designer Statement: “Black foam is used to predicted as container and also as a background. It is the sculpture of 8 statues carved out of ivory predicted by using white monte casino flower. Each statue is standing on top of white ivory pedestal predicted using white carnation. Each statue is holding it’s own instrument predicted by tinted of red bud of monte casino flower.”
SDMA Collection: Ho Hsien-ku (with lotus flowers), ca. 1900. Ivory sculpture. Gift of the James P. Witherow Family. 1984.13.1.
Gallery 8

Materials Used: White mini carnation and white monte casino flowers.
Floral Designer Statement: “Black foam is used to predicted as container and also as a background. It is the sculpture of 8 statues carved out of ivory predicted by using white monte casino flower. Each statue is standing on top of white ivory pedestal predicted using white carnation. Each statue is holding it’s own instrument predicted by tinted of red bud of monte casino flower.”
SDMA Collection: Ho Hsien-ku (with lotus flowers), ca. 1900. Ivory sculpture. Gift of the James P. Witherow Family. 1984.13.1.
Gallery 8

Ritual Scepter interpreted by Dale Rekus

Materials Used: A diminutive design, fifteen inches long and six inches high, in keeping with petite size of the art object, consists of a black ceramic container that was hand crafted in China; the greenery is Jade plant (Crassula ovata ‘Gollum’) in reference to the jade material of the object; two dried Buddha’s Hand citron fruit (Citrus medica var. sarcodactylis) spray painted gold (the Buddha’s hand citron is native to China and symbolizes happiness and long life in that country); Aeonium ‘Kiwi’ for additional texture and color interest (the name ‘Kiwi’ alludes to kiwi fruit which is native to China); the pale green carnations are an additional reference to the jade material of the object.
Floral Designer Statement: “I had selected a Chinese Ritual Scepter of carved jade from the 18th or 19th century (Accession Number 1955.73). It was great fun in discovering all of the materials available to me that tied into this beautiful jade item from China. I am looking forward to being able to participate again in the museum next year. And thank you for the chance to participate virtually this year.”
SDMA Collection: Ritual Scepter, China, ca. 18th century (or 19th century). Jade. Gift of Mrs. John Sheafe Douglas. 1955.73.
Gallery 8

Materials Used: A diminutive design, fifteen inches long and six inches high, in keeping with petite size of the art object, consists of a black ceramic container that was hand crafted in China; the greenery is Jade plant (Crassula ovata ‘Gollum’) in reference to the jade material of the object; two dried Buddha’s Hand citron fruit (Citrus medica var. sarcodactylis) spray painted gold (the Buddha’s hand citron is native to China and symbolizes happiness and long life in that country); Aeonium ‘Kiwi’ for additional texture and color interest (the name ‘Kiwi’ alludes to kiwi fruit which is native to China); the pale green carnations are an additional reference to the jade material of the object.
Floral Designer Statement: “I had selected a Chinese Ritual Scepter of carved jade from the 18th or 19th century (Accession Number 1955.73). It was great fun in discovering all of the materials available to me that tied into this beautiful jade item from China. I am looking forward to being able to participate again in the museum next year. And thank you for the chance to participate virtually this year.”
SDMA Collection: Ritual Scepter, China, ca. 18th century (or 19th century). Jade. Gift of Mrs. John Sheafe Douglas. 1955.73.
Gallery 8

Departure (from The House of Menander) interpreted by Casey Woodall

Materials Used: Garden flowers, lichen covered boulder, hot wheels jeep, chicken wire vases.
Floral Designer Statement: “Setting suns for me are always a little sad, because I am always sorry to see the daylight fade. I used the last of the day’s light in my yard to highlight the bouquet of flowers my mother picked as a parting gift for me when I visited her last. Even though I can’t visit my mom, I have some of the bright flowers she grew herself from her backyard as a note of love and care. I wanted to keep those in focus, while also keeping a couple elements as acknowledgements of the hollow, bittersweets feelings of departure.”
SDMA Collection: Departure (from The House of Menander), Turkey, ca. 250. Marble. Museum purchase. 1945.19 .
Gallery 9

Materials Used: Garden flowers, lichen covered boulder, hot wheels jeep, chicken wire vases.
Floral Designer Statement: “Setting suns for me are always a little sad, because I am always sorry to see the daylight fade. I used the last of the day’s light in my yard to highlight the bouquet of flowers my mother picked as a parting gift for me when I visited her last. Even though I can’t visit my mom, I have some of the bright flowers she grew herself from her backyard as a note of love and care. I wanted to keep those in focus, while also keeping a couple elements as acknowledgements of the hollow, bittersweets feelings of departure.”
SDMA Collection: Departure (from The House of Menander), Turkey, ca. 250. Marble. Museum purchase. 1945.19 .
Gallery 9

Trompe l’Oeil Still Life by Samuel van Hoogstraten interpreted by William and Janie Jones

Materials Used: MATERIALS FOR THE PIECE WERE SOURCED ENTIRELY FROM OUR HOUSE & GARDEN AS A MANIFESTATION OF THE COVID-19 ‘STAY AT HOME’ DIRECTIVE. MATERIALS LIST: Wooden base & frame (just tore down an old fence, a COVID project) Scrap copper strips, upholstery tacks Several Arts & Crafts period hammered copper bud vases A number of gardening, bonsai & floral arranging implements A vintage ikebana book 18th. century repro spectacles iI made for 2019 Art Alive Japanese bone creaser (just because there’s one in the painting and I had) A horseshoe thrown in for ‘GOOD LUCK’ during COVID San Diego Floral Association Ribbon c.1910 (a tongue in cheek addition – Ferdinand III, impressed by an early LETTER RACK painting, bestowed Van Hoogstraten a medal. It appears in many of his later assemblages. PLANT MATERIALS Syngonium podophyllum ‘Maria’ / arrowhead vine – Dried protea – Dried lotus pods & leaf (from a pond in east county c.1997) FLOWERS Hibiscus rosa-sinensis Fremontodendron californicum / flannelbush – Rosa Cecile Brunner / sweetheart rose – Helleborus orientalis / lenten rose- Salvia William & Janie Jones 4.19.2020
Floral Designer Statement: “Inspiration for our photographed STILL LIFE SCULPTURE was taken from the painting and the ‘LETTER RACK GENRE’ Van Hoogstraten is responsible for. Under the circumstances of the day and in keeping with the multitude of objects that he made use of, gave us license to create a GARDEN TRELLIS RACK. The influence of our normal Art Alive requirements also meant flowers had to be a part.
Given the challenge of interpreting the painting was an opportunity to express some repressed creativity and fulfill some of the expectations that we were filled with prior to COVID-19.”
SDMA Collection: Samuel van Hoogstraten (AKA Samuel van Hoogstraeten). Trompe l’Oeil Still Life, ca. 1655. Oil on canvas. Gift of Jo Wallace Walker in honor of Burnett Walker. 1975.80.
Gallery 10

Materials Used: MATERIALS FOR THE PIECE WERE SOURCED ENTIRELY FROM OUR HOUSE & GARDEN AS A MANIFESTATION OF THE COVID-19 ‘STAY AT HOME’ DIRECTIVE. MATERIALS LIST: Wooden base & frame (just tore down an old fence, a COVID project) Scrap copper strips, upholstery tacks Several Arts & Crafts period hammered copper bud vases A number of gardening, bonsai & floral arranging implements A vintage ikebana book 18th. century repro spectacles iI made for 2019 Art Alive Japanese bone creaser (just because there’s one in the painting and I had) A horseshoe thrown in for ‘GOOD LUCK’ during COVID San Diego Floral Association Ribbon c.1910 (a tongue in cheek addition – Ferdinand III, impressed by an early LETTER RACK painting, bestowed Van Hoogstraten a medal. It appears in many of his later assemblages. PLANT MATERIALS Syngonium podophyllum ‘Maria’ / arrowhead vine – Dried protea – Dried lotus pods & leaf (from a pond in east county c.1997) FLOWERS Hibiscus rosa-sinensis Fremontodendron californicum / flannelbush – Rosa Cecile Brunner / sweetheart rose – Helleborus orientalis / lenten rose- Salvia William & Janie Jones 4.19.2020
Floral Designer Statement: “Inspiration for our photographed STILL LIFE SCULPTURE was taken from the painting and the ‘LETTER RACK GENRE’ Van Hoogstraten is responsible for. Under the circumstances of the day and in keeping with the multitude of objects that he made use of, gave us license to create a GARDEN TRELLIS RACK. The influence of our normal Art Alive requirements also meant flowers had to be a part.
Given the challenge of interpreting the painting was an opportunity to express some repressed creativity and fulfill some of the expectations that we were filled with prior to COVID-19.”
SDMA Collection: Samuel van Hoogstraten (AKA Samuel van Hoogstraeten). Trompe l’Oeil Still Life, ca. 1655. Oil on canvas. Gift of Jo Wallace Walker in honor of Burnett Walker. 1975.80.
Gallery 10

Ramesses II interpreted by Yumi Rakers

Materials Used: Japanese wistera vines and bird of paradise flowers and leaves. Flowers and leaves are placed into black Iron container.
Floral Designer Statement: “I emphasized torso of Ramesses’s stone statue using wisteria vine. I painted with gold metallic paint since Ramesses was Pharaoh, also arranged bird of paradise as his head and crown. My specialty in Ikebana is making a construction with natural materials using vines, bamboos, palms, etc.”
SDMA Collection: Ramesses II, Egypt, 1279 BCE-1212 BCE. Quartizite. Museum purchase with funds from the Helen M. Towle Bequest. 1949.62.1-2.
Gallery 10

Materials Used: Japanese wistera vines and bird of paradise flowers and leaves. Flowers and leaves are placed into black Iron container.
Floral Designer Statement: “I emphasized torso of Ramesses’s stone statue using wisteria vine. I painted with gold metallic paint since Ramesses was Pharaoh, also arranged bird of paradise as his head and crown. My specialty in Ikebana is making a construction with natural materials using vines, bamboos, palms, etc.”
SDMA Collection: Ramesses II, Egypt, 1279 BCE-1212 BCE. Quartizite. Museum purchase with funds from the Helen M. Towle Bequest. 1949.62.1-2.
Gallery 10

Three Female Figures in a Landscape by Karl Hofer interpreted by Kat Castagnoli, AIFD, CCF

Materials Used: Yarn, floral wires, pipe cleaners, dried florals, coffee grounds, dyed moss, fresh florals.
Floral Designer Statement: “My inspiration painting was Karl Hofer’s Three Female Figures in a Landscape, so I wanted to capture the peach, blue, and pale green tones in the painting, as well as depict the three female figures ‘in the flesh.’ I was lucky enough to have access to some fresh floral, which I incorporated, but the rest was found and foraged from what I had at in and around me at home. I had a lot of fun thinking outside the box of what to use in creating this piece — it was the perfect quarantine project!”
SDMA Collection: Karl Hofer. Three Female Figures in a Landscape, ca. 1909. Oil on canvas. Gift from the Estate of Vance E. Kondon and Liesbeth Giesberger. 2011.103.
Gallery 11

Materials Used: Yarn, floral wires, pipe cleaners, dried florals, coffee grounds, dyed moss, fresh florals.
Floral Designer Statement: “My inspiration painting was Karl Hofer’s Three Female Figures in a Landscape, so I wanted to capture the peach, blue, and pale green tones in the painting, as well as depict the three female figures ‘in the flesh.’ I was lucky enough to have access to some fresh floral, which I incorporated, but the rest was found and foraged from what I had at in and around me at home. I had a lot of fun thinking outside the box of what to use in creating this piece — it was the perfect quarantine project!”
SDMA Collection: Karl Hofer. Three Female Figures in a Landscape, ca. 1909. Oil on canvas. Gift from the Estate of Vance E. Kondon and Liesbeth Giesberger. 2011.103.
Gallery 11

Moon Landscape by Max Beckmann interpreted by Donna L. West

Materials Used: Peonies, Spirea, aspidistra leaves, oak leaves, silver wire, silver fabric, gerbera daisy, million star gypsophila, dried palm leaf.
Floral Designer Statement: “The curving sweep of shimmering river and strong horizontal lines in the foreground (bridge) and distant elongated clouds
inspired the silver fabric contrast of dark containers and leaves. Two peonies empathize perspective distance of the moon, the back curve of the gerbera daisy suggests the street light. The horizontal aspidistra leave mimic the looming clouds.”
SDMA Collection: Max Beckmann. Moon Landscape, 1925. Oil on canvas. Bequest of Earle W. Grant. 1972.6.
Gallery 11

Materials Used: Peonies, Spirea, aspidistra leaves, oak leaves, silver wire, silver fabric, gerbera daisy, million star gypsophila, dried palm leaf.
Floral Designer Statement: “The curving sweep of shimmering river and strong horizontal lines in the foreground (bridge) and distant elongated clouds
inspired the silver fabric contrast of dark containers and leaves. Two peonies empathize perspective distance of the moon, the back curve of the gerbera daisy suggests the street light. The horizontal aspidistra leave mimic the looming clouds.”
SDMA Collection: Max Beckmann. Moon Landscape, 1925. Oil on canvas. Bequest of Earle W. Grant. 1972.6.
Gallery 11

The Avenger by Ernst Barlach interpreted by Apua Garbutt

Materials Used: Wood sculpture, large white king protea; small pink protea, yellow & pink phalaenopsis orchids; small pink phalaenopsis orchid.
Floral Designer Statement: “Ernst Barlach sculpture medium bronze. I chose the trunk wood sculpture because of the horizontal lines and movement. I anticipated using flowers with movement as well. The arching branches of the dried pink protea mimics the Avengers sword possibly in preparation to thrust forward for an attack. The king protea’s petals unfolds like his robe. I felt the muted bronze tones coupled with more colorful flowers would complement the statue and complete my floral piece.”
SDMA Collection: Ernst Barlach. The Avenger. L3535.
Gallery 11

Materials Used: Wood sculpture, large white king protea; small pink protea, yellow & pink phalaenopsis orchids; small pink phalaenopsis orchid.
Floral Designer Statement: “Ernst Barlach sculpture medium bronze. I chose the trunk wood sculpture because of the horizontal lines and movement. I anticipated using flowers with movement as well. The arching branches of the dried pink protea mimics the Avengers sword possibly in preparation to thrust forward for an attack. The king protea’s petals unfolds like his robe. I felt the muted bronze tones coupled with more colorful flowers would complement the statue and complete my floral piece.”
SDMA Collection: Ernst Barlach. The Avenger. L3535.
Gallery 11

Standing Bodhisattva interpreted by Anna Bettencourt

Materials Used: Wire, bind wire, Flat Cane, Dianthus, Foxglove.
Floral Designer Statement: “Bodhisattva is an individual who helps all to achieve a better experience (existence) in life. This in mind I wanted to create an elegant line for the viewers eyes; Mimicking the fabric gracefully draped on the statue.”
SDMA Collection: Standing Bodhisattva, ca. 3rd century. Stone sculpture. Purchased with Resale Funds and with Funds provided by the Asian Arts Committee and dedicated to Julia Andrews and Margaret Robbins, who made great contributions of their considerable talents to the Committee and to the San Diego Museum of Art. 1980.2.
Gallery 12: North

Materials Used: Wire, bind wire, Flat Cane, Dianthus, Foxglove.
Floral Designer Statement: “Bodhisattva is an individual who helps all to achieve a better experience (existence) in life. This in mind I wanted to create an elegant line for the viewers eyes; Mimicking the fabric gracefully draped on the statue.”
SDMA Collection: Standing Bodhisattva, ca. 3rd century. Stone sculpture. Purchased with Resale Funds and with Funds provided by the Asian Arts Committee and dedicated to Julia Andrews and Margaret Robbins, who made great contributions of their considerable talents to the Committee and to the San Diego Museum of Art. 1980.2.
Gallery 12: North

Head of the Adorned Buddha interpreted by Yara Bertran

Materials Used: Cardboard, packing material, cauliflower, scrabble squares wooden tiles.
Floral Designer Statement: “Considering I could not visit the museum to check all the beautiful detail on the Head of the Adorned Buddha, I decided to make something unexpected and fun to make people smile in a time that everybody is stress. I also wanted to work with materials that I can recycle, materials that people are familiar with and are all using frequently at home during these days: We are ordering food online, so I had cardboard boxes and packing material, I used these to create the face and features. I noticed that every time I order food from the supermarket I never have an issue finding cauliflower, it is not a very popular veggie for kids and many adults. I used this vegetable to create Buddha’s headpiece. Like many people, I find myself baking often during the lockdown, banana bread and biscuits are among the favorite in my family, the background of the Head of the Adorned Buddha is a baking sheet. And lastly, we are all playing board games, I chose scrabble’s wooden tile to create the neck and support of the Buddha’s head. The final piece is 14 in. tall X 11 in.
SDMA Collection: Head of the Adorned Buddha, Thailand, ca. 1500. Bronze. Gift of Earle W. Grant. 1961.12.
Gallery 12: North

Materials Used: Cardboard, packing material, cauliflower, scrabble squares wooden tiles.
Floral Designer Statement: “Considering I could not visit the museum to check all the beautiful detail on the Head of the Adorned Buddha, I decided to make something unexpected and fun to make people smile in a time that everybody is stress. I also wanted to work with materials that I can recycle, materials that people are familiar with and are all using frequently at home during these days: We are ordering food online, so I had cardboard boxes and packing material, I used these to create the face and features. I noticed that every time I order food from the supermarket I never have an issue finding cauliflower, it is not a very popular veggie for kids and many adults. I used this vegetable to create Buddha’s headpiece. Like many people, I find myself baking often during the lockdown, banana bread and biscuits are among the favorite in my family, the background of the Head of the Adorned Buddha is a baking sheet. And lastly, we are all playing board games, I chose scrabble’s wooden tile to create the neck and support of the Buddha’s head. The final piece is 14 in. tall X 11 in.
SDMA Collection: Head of the Adorned Buddha, Thailand, ca. 1500. Bronze. Gift of Earle W. Grant. 1961.12.
Gallery 12: North

Shrine Doors interpreted by Eileen Bogard

Materials Used: Glads, kangaroo paws, flowering aloe Vera, epidendrum orchids, roses, alstroemerias, and 2 echeveria.
Floral Designer Statement: “Loved the colors and the age of this piece. It allowed me to layer the colors through the design.”
SDMA Collection: Shrine Doors, Tibet, ca. 18th century. Opaque watercolor on wood. Gift of Ruth Sutherlin Hayward and Robert William Hayward. 2015.3.
Gallery 12: North

Materials Used: Glads, kangaroo paws, flowering aloe Vera, epidendrum orchids, roses, alstroemerias, and 2 echeveria.
Floral Designer Statement: “Loved the colors and the age of this piece. It allowed me to layer the colors through the design.”
SDMA Collection: Shrine Doors, Tibet, ca. 18th century. Opaque watercolor on wood. Gift of Ruth Sutherlin Hayward and Robert William Hayward. 2015.3.
Gallery 12: North

An elephant, composite, made up of dancing women serves as a mount to an archer interpreted by Rachel Hecathorn

Materials Used: Structured from a bamboo plant stand, pool noodle, floral foam, coconut liner, cholla wood, drift wood, and vine ribbon. Covered in various succulent cuttings, shells, moss, and birch bark.
Floral Designer Statement: “Wanted to recreate the composite imagery of the elephant made up of dancing women. Was really excited to challenge myself to see if I could pull of the structure with what I could find at home. When I discovered that a grapevine burl I had looked like the kneeling archer, I was excited to be able to complete the whole image!”
SDMA Collection: An elephant, composite, made up of dancing women serves as a mount to an archer, ca. 1825. Opaque watercolor and gold on paper. Edwin Binney 3rd Collection. 1990.1426.
Gallery 12: North

Materials Used: Structured from a bamboo plant stand, pool noodle, floral foam, coconut liner, cholla wood, drift wood, and vine ribbon. Covered in various succulent cuttings, shells, moss, and birch bark.
Floral Designer Statement: “Wanted to recreate the composite imagery of the elephant made up of dancing women. Was really excited to challenge myself to see if I could pull of the structure with what I could find at home. When I discovered that a grapevine burl I had looked like the kneeling archer, I was excited to be able to complete the whole image!”
SDMA Collection: An elephant, composite, made up of dancing women serves as a mount to an archer, ca. 1825. Opaque watercolor and gold on paper. Edwin Binney 3rd Collection. 1990.1426.
Gallery 12: North

Shri Devi interpreted by Jean Stewart

Materials Used: Phalaenopsis orchid. Japanese Aralia, Monstera and variegated leaves.
Floral Designer Statement: “This design is all about recreating the famine form and graceful movement shown in the statue.”
SDMA Collection: Shri Devi, India, ca. 1100. Bronze sculpture. Museum purchase with funds provided by the Beatrice Lynds Bequest. 2004.3.
Gallery 12: North

Materials Used: Phalaenopsis orchid. Japanese Aralia, Monstera and variegated leaves.
Floral Designer Statement: “This design is all about recreating the famine form and graceful movement shown in the statue.”
SDMA Collection: Shri Devi, India, ca. 1100. Bronze sculpture. Museum purchase with funds provided by the Beatrice Lynds Bequest. 2004.3.
Gallery 12: North

Composition in Color by Jean Hélion interpreted by Jan Kugler

Materials Used: Black metal abstract sculpture, flowers, colored card stock.
Floral Designer Statement: “This abstract painting has many angles, strong lines and multiple blocks of colors in goldenrod yellow, shades of orange, blue, and greens. The abstract black metal sculpture along with cut out card stock in complimenting colors reflect the strong angles and lines of the painting. The Roses, Pincushion Protea, Dutch Iris and Goldenrod Anenome bloom are from our garden The tulips were purchased from a grocery store.”
SDMA Collection: Jean Hélion. Composition in Color, 1934. Oil on canvas. Gift of Peggy Guggenheim. 1955.36.
Gallery 12: South

Materials Used: Black metal abstract sculpture, flowers, colored card stock.
Floral Designer Statement: “This abstract painting has many angles, strong lines and multiple blocks of colors in goldenrod yellow, shades of orange, blue, and greens. The abstract black metal sculpture along with cut out card stock in complimenting colors reflect the strong angles and lines of the painting. The Roses, Pincushion Protea, Dutch Iris and Goldenrod Anenome bloom are from our garden The tulips were purchased from a grocery store.”
SDMA Collection: Jean Hélion. Composition in Color, 1934. Oil on canvas. Gift of Peggy Guggenheim. 1955.36.
Gallery 12: South

Female Nude Reading by Robert Delaunay interpreted by Suzy and Mike Gable

Materials Used: Gladiolas, roses,silk orchids, painted bed sheet, das boot, book.
Floral Designer Statement: “My inspiration came from my pleasure of collaborating with my son, bouncing ideas back and forth until we could agree and we sort of agreed in the end.”
SDMA Collection: Robert Delaunay. Female Nude Reading, 1915. Oil on canvas. Museum purchase through the Earle W. Grant Acquisition Fund. 1979.20.
Gallery 12: South

Materials Used: Gladiolas, roses,silk orchids, painted bed sheet, das boot, book.
Floral Designer Statement: “My inspiration came from my pleasure of collaborating with my son, bouncing ideas back and forth until we could agree and we sort of agreed in the end.”
SDMA Collection: Robert Delaunay. Female Nude Reading, 1915. Oil on canvas. Museum purchase through the Earle W. Grant Acquisition Fund. 1979.20.
Gallery 12: South

The Blue-eyed Boy by Amedeo Modigliani interpreted by Kristine Rysberg

Materials Used: Flowers–roses, garden spray roses, butterfly ranunculus, leucadendron, calla lilies, eucalyptus bark, and camelia foliage.
Floral Designer Statement: “I wanted to echo the colors and shape in the original piece and getting to support local flower growers and distributors was an added bonus. Combing through my yard for flowers and greenery was also fun!”
SDMA Collection: Amedeo Modigliani (AKA Livorno Amedeo Clemente Modigliani). The Blue-eyed Boy, 1916. Oil on canvas. Gift of Ambassador and Mrs. Maxwell Gluck. 1986.43.
Gallery 12: South

Materials Used: Flowers–roses, garden spray roses, butterfly ranunculus, leucadendron, calla lilies, eucalyptus bark, and camelia foliage.
Floral Designer Statement: “I wanted to echo the colors and shape in the original piece and getting to support local flower growers and distributors was an added bonus. Combing through my yard for flowers and greenery was also fun!”
SDMA Collection: Amedeo Modigliani (AKA Livorno Amedeo Clemente Modigliani). The Blue-eyed Boy, 1916. Oil on canvas. Gift of Ambassador and Mrs. Maxwell Gluck. 1986.43.
Gallery 12: South

Dead Bird by Carlos Mérida interpreted by Kristine Sanchez

Materials Used: Salvia, aloe, succulent, various foliage, branches, yarn.
Floral Designer Statement: “Loving the colors in the painting by Carlos Merida, I wanted to capture just that. Luckily, I had some flowers and foliage that I could cut from my garden. Limited to what I had at home, I was able to create the rust and coral colored tones by using paint. I also had some feathers that my kids and I made using yarn that picked up the colors in the painting as well.”
SDMA Collection: Carlos Mérida. Dead Bird, 1944. Oil on canvas. Museum purchase. 2003.59.
Gallery 12: South

Materials Used: Salvia, aloe, succulent, various foliage, branches, yarn.
Floral Designer Statement: “Loving the colors in the painting by Carlos Merida, I wanted to capture just that. Luckily, I had some flowers and foliage that I could cut from my garden. Limited to what I had at home, I was able to create the rust and coral colored tones by using paint. I also had some feathers that my kids and I made using yarn that picked up the colors in the painting as well.”
SDMA Collection: Carlos Mérida. Dead Bird, 1944. Oil on canvas. Museum purchase. 2003.59.
Gallery 12: South

The Germ of the Cosmos by André Masson interpreted by Jamie Kales

Materials Used: Soup, all plant/floral varietals from my personal garden, dried pasilla pepper, black licorice, dice, personal hospital band, soup ladle.
Floral Designer Statement: “The title of the piece is ’20/20 Vision; 2020 Vanitas.’ Juxtaposes life and death, replete with symbols: Sunflower with a Biohazard symbol atop, the trap of netting, religious allusions (yin yang), luggage tag, dice. Germinating blooms vs. Germ (pathogen). ‘We’re All in This Together.'”
SDMA Collection: André Masson. The Germ of the Cosmos, 1942. Gouache and pastel on canvas. Gift of Mrs. Saidie A. May. 1946.30.
Gallery 12: South

Materials Used: Soup, all plant/floral varietals from my personal garden, dried pasilla pepper, black licorice, dice, personal hospital band, soup ladle.
Floral Designer Statement: “The title of the piece is ’20/20 Vision; 2020 Vanitas.’ Juxtaposes life and death, replete with symbols: Sunflower with a Biohazard symbol atop, the trap of netting, religious allusions (yin yang), luggage tag, dice. Germinating blooms vs. Germ (pathogen). ‘We’re All in This Together.'”
SDMA Collection: André Masson. The Germ of the Cosmos, 1942. Gouache and pastel on canvas. Gift of Mrs. Saidie A. May. 1946.30.
Gallery 12: South

Large Variation: Autumn by Alexej von Jawlensky interpreted by Alice Harmon

Materials Used: Various vases, dry natural forms and odd vintage materials.
Floral Designer Statement: “I started to do an interp but the COVID issue came and I had put it away and used my time off to organize my floral stuff instead so my submission is my floral studio/wine cellar with 3 versions of my chosen art and a photo of a trial beginning for an arrangement…just had to add some humor to this year…but wanted to participate at least a bit :)”
SDMA Collection: Alexej von Jawlensky (AKA Alexej Georgevich von Jawlensky). Large Variation: Autumn, 1915. Oil on canvas mounted on board. Gift of Mr. and Mrs. Norton S. Walbridge. 1976.202.
Gallery 12: South

Materials Used: Various vases, dry natural forms and odd vintage materials.
Floral Designer Statement: “I started to do an interp but the COVID issue came and I had put it away and used my time off to organize my floral stuff instead so my submission is my floral studio/wine cellar with 3 versions of my chosen art and a photo of a trial beginning for an arrangement…just had to add some humor to this year…but wanted to participate at least a bit :)”
SDMA Collection: Alexej von Jawlensky (AKA Alexej Georgevich von Jawlensky). Large Variation: Autumn, 1915. Oil on canvas mounted on board. Gift of Mr. and Mrs. Norton S. Walbridge. 1976.202.
Gallery 12: South

Bowl interpreted by Lori Walton

Materials Used: We used primarily succulents because they are known to not only survive but also thrive during unfavorable periods such as we humans are currently doing during the COVID-19 pandemic.
Floral Designer Statement: “Our inspiration was BOWL WITH GEOMETRIC DESIGNS
Iran, 13th century, Stonepaste, with decoration under turquoise glaze. We found our “bowl” to be a source of calm, peace and solidarity. For us, the circular nature of BWGM represents the world and our connectedness. All of life and life’s events, flow into one.”
SDMA Collection: Bowl, Iran, 13th century. Ceramic. Museum purchase with funds provided by the Asian Arts Council
Conservation funded by the Association of Iranian American Professionals, the House of Iran, and the Persian Cultural Center. 1967.15.
Gallery 13: North

Materials Used: We used primarily succulents because they are known to not only survive but also thrive during unfavorable periods such as we humans are currently doing during the COVID-19 pandemic.
Floral Designer Statement: “Our inspiration was BOWL WITH GEOMETRIC DESIGNS
Iran, 13th century, Stonepaste, with decoration under turquoise glaze. We found our “bowl” to be a source of calm, peace and solidarity. For us, the circular nature of BWGM represents the world and our connectedness. All of life and life’s events, flow into one.”
SDMA Collection: Bowl, Iran, 13th century. Ceramic. Museum purchase with funds provided by the Asian Arts Council
Conservation funded by the Association of Iranian American Professionals, the House of Iran, and the Persian Cultural Center. 1967.15.
Gallery 13: North

Blue Rider by Marino Marini interpreted by Sandy Villa, AIFD, CFD

Materials Used: Red gladiolus, orange ranunculas, sunflowers, bunny tails, forsythia, lavender, blue hydrangeas, curly willow, pittisporum, and sword fern.
Floral Designer Statement: “This is the 1st flower arrangement I’ve made since the pandemic started and it was challenging to say the least with limited access to product. I feel the horse and rider are the strong lines that I created within, keeping close to the colors that attracted me to this selection. The bunny tails are the horse’s head tossed back.”
SDMA Collection: Marino Marini. Blue Rider, 1958. Oil on canvas. Bequest of Earle W. Grant. 1972.67.
Gallery 13: South

Materials Used: Red gladiolus, orange ranunculas, sunflowers, bunny tails, forsythia, lavender, blue hydrangeas, curly willow, pittisporum, and sword fern.
Floral Designer Statement: “This is the 1st flower arrangement I’ve made since the pandemic started and it was challenging to say the least with limited access to product. I feel the horse and rider are the strong lines that I created within, keeping close to the colors that attracted me to this selection. The bunny tails are the horse’s head tossed back.”
SDMA Collection: Marino Marini. Blue Rider, 1958. Oil on canvas. Bequest of Earle W. Grant. 1972.67.
Gallery 13: South

The Shadows by René Magritte interpreted by Abigail Allen

Materials Used: Ash tree, drift wood.
SDMA Collection: René Magritte (AKA René-François-Ghislain Magritte). The Shadows, 1966. Oil on canvas. Gift of Mr. and Mrs. Norton S. Walbridge. 1976.205.
Gallery 13: South

Materials Used: Ash tree, drift wood.
SDMA Collection: René Magritte (AKA René-François-Ghislain Magritte). The Shadows, 1966. Oil on canvas. Gift of Mr. and Mrs. Norton S. Walbridge. 1976.205.
Gallery 13: South

Looking Well by Jean Dubuffet interpreted by Nancy Hagen Baldwin

Materials Used: Rusty Junk Barrel Top, Old Bike Wheel, High-top Sneakers, Geraniums, Succulents, Lily Grass, Melaleuca Bark, Red Photina Leaves.
Floral Design Statement: “Brut art, basic, forms as a child sees, texture, and whimsy (a bit silly?). I wanted to create a ‘Fun’ piece that uses basic everyday objects to imply ‘Looking Well’ and feeling well: that which occurs after a walk, bike ride, or outdoor exploration.The strong oval form of the barrel top (found on a hike), the circular/rounded form of the bike wheel (a simple child’s shape that is repeated throughout painting), and the overall diagonal line are emphasized. The lily grass sweeping from the back reflects the competing horizontal lines. Bark and the energizing red geranium florets (a symbol of happiness and positive emotions in the language of flowers) reflect both the dominant textures and colors of the painting. Of course, the whimsical sneakers imply activity, play, and youth (check out the painting!). All in all, being well, ‘Looking Well!'”
SDMA Collection: Jean Dubuffet. Looking Well, 1961. Oil on canvas. Museum purchase with funds from the Armand Hammer Foundation and Anne R. and Amy Putnam and a gift from Vivian Conway and Inez Grant Parker, by exchange. 1988.29.
Gallery 13: South

Materials Used: Rusty Junk Barrel Top, Old Bike Wheel, High-top Sneakers, Geraniums, Succulents, Lily Grass, Melaleuca Bark, Red Photina Leaves.
Floral Design Statement: “Brut art, basic, forms as a child sees, texture, and whimsy (a bit silly?). I wanted to create a ‘Fun’ piece that uses basic everyday objects to imply ‘Looking Well’ and feeling well: that which occurs after a walk, bike ride, or outdoor exploration.The strong oval form of the barrel top (found on a hike), the circular/rounded form of the bike wheel (a simple child’s shape that is repeated throughout painting), and the overall diagonal line are emphasized. The lily grass sweeping from the back reflects the competing horizontal lines. Bark and the energizing red geranium florets (a symbol of happiness and positive emotions in the language of flowers) reflect both the dominant textures and colors of the painting. Of course, the whimsical sneakers imply activity, play, and youth (check out the painting!). All in all, being well, ‘Looking Well!'”
SDMA Collection: Jean Dubuffet. Looking Well, 1961. Oil on canvas. Museum purchase with funds from the Armand Hammer Foundation and Anne R. and Amy Putnam and a gift from Vivian Conway and Inez Grant Parker, by exchange. 1988.29.
Gallery 13: South

Under the Weather 1 by Richard Deacon interpreted by David Root

Materials Used: Protea, smilax vine, anthurium, hydrangea.
Floral Design Statement: Four legs of the stool represent four columns in the sculpture.
SDMA Collection: Richard Deacon. Under the Weather 1, 2016. Wood. Gift of the artist. 2017.11.
Gallery 13: South

Materials Used: Protea, smilax vine, anthurium, hydrangea.
Floral Design Statement: Four legs of the stool represent four columns in the sculpture.
SDMA Collection: Richard Deacon. Under the Weather 1, 2016. Wood. Gift of the artist. 2017.11.
Gallery 13: South

Flin Flon VIII by Frank Stella interpreted by Leslie O’Dell

Materials Used: This interpretation used the orange petals from deconstructed Bird of Paradise, deep burgundy petals from banana flowers, orange peels folded and wired, banana leaf wrapped around a semi-circle ring, white Alstroemeria blossoms, sage Echeveria rosette, red Anthurium, red/orange deconstructed bromeliad petals, blue glass rocks and Bird of Paradise leaves. All set in a square container with two white wine barrel hoops creating the circular form.
Floral Design Statement: My inspiration came from color first, and second the circular forms. Looking at color I found the exercise fun and challenging to search for the best colors in my garden. Finding wine barrel hoops was just what I hoped for to give the composition a spherical shape. A much needed distraction while sheltering.
SDMA Collection: Frank Stella. Flin Flon VIII, 1970. Acrylic on canvas. Museum purchase with Resale Funds from art given by Mrs. Frederick E. Davies and Mrs. Albert Gallatin Wheeler. 1979.19.
Gallery 13: South

Materials Used: This interpretation used the orange petals from deconstructed Bird of Paradise, deep burgundy petals from banana flowers, orange peels folded and wired, banana leaf wrapped around a semi-circle ring, white Alstroemeria blossoms, sage Echeveria rosette, red Anthurium, red/orange deconstructed bromeliad petals, blue glass rocks and Bird of Paradise leaves. All set in a square container with two white wine barrel hoops creating the circular form.
Floral Design Statement: My inspiration came from color first, and second the circular forms. Looking at color I found the exercise fun and challenging to search for the best colors in my garden. Finding wine barrel hoops was just what I hoped for to give the composition a spherical shape. A much needed distraction while sheltering.
SDMA Collection: Frank Stella. Flin Flon VIII, 1970. Acrylic on canvas. Museum purchase with Resale Funds from art given by Mrs. Frederick E. Davies and Mrs. Albert Gallatin Wheeler. 1979.19.
Gallery 13: South

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