The National Cultural Foundation
St. James, Barbados
A new series of drawings from Barbadian-based artist Annalee Davis titled As if the Entanglement of our Lives did not Matter, is part of the exhibition ‘Florilegium: A gathering of flowers’ which brings together new and existing works from 4 contemporary artists and more than 40 established botanical artists.
Source: Royal Botanic Garden Edinburgh
Inaugural biennial exhibition marks the re-opening of Inverleith House as
contemporary and botanical artists celebrate the power of flowers
New and existing works by contemporary artists Lee Mingwei, Annalee Davis, Wendy McMurdo and Lyndsay Mann join over 40 established botanical artists such as Mieko Ishikawa, Dianne Sutherland and Sansanee Deekranjang in Florilegium: A gathering of flowers, at Inverleith House, Edinburgh, which re-opened this Autumn. The biennial exhibition is the first of a new programme as Inverleith House begins its transformation into Climate House following the award of the Outset Contemporary Art Fund’s Transformative Grant.
The artists responded to Royal Botanic Garden Edinburgh’s (RBGE) globally important plant collection comprising over 13,500 species with works that reveal how flowers can elicit cultural, historic, geographic, socio-political and scientific ideas. The title derives from the name for a group of botanical artworks and is part of RBGE’s ambitious project to catalogue the plant collection through botanical and contemporary art responses. The artists – living and working internationally – have overcome the challenges of a global pandemic this year to create new and never seen before works of art for Florilegium. They will be displayed for the first time in this major exhibition marking the post…..click here to read more
Annalee Davis is a visual artist, cultural instigator, educator and writer, with a hybrid practice. She works at the intersection of biography and history, focusing on post-plantation economies by engaging with a particular landscape on Barbados. Her studio, located on a working dairy farm, operated historically as a 17thC sugarcane plantation, offering a critical context for her practice by engaging with the residue of the plantation.
Written by: Ashley Dyall