Peter Opheim : The Sublime and Elusive FlowerPost date：2023-07-31
Updates：2023-07-31
410
- Event Time
- 2023-07-29~2023-08-26Tue. - Sat. 10:00-19:00
- Event Location
- No.11, Ln. 164, Songjiang Rd., Zhongshan Dist., Taipei City Taiwan, R.O.C
Peter Opheim furthered his artistic exploration in his latest solo show at Powen Gallery, where he skillfully combines his “creatures” with the imagery of flowers.
Through pollination, a process achieved by butterflies, bees, and beyond, a flower ultimately bears fruit and reproduces, completing the cycle of life. Flowers have occupied multiple symbolisms across different cultures. For instance, the Paradeisos, one of the seven wonders of the ancient world, was an aerial floral garden built by Nebuchadnezzar II of the Babylonian Chaldean dynasty to solace his homesick wife. The Greek word paradeisos later became paradise, taking on the meaning of the Christian heaven.
However, another kind of flower in nature differs in its reproductive process due to its incomplete evolution. Asexual flowers refer to a species that lacks stamens and pistils; the hydrangea is one classic example. From the perspective of botanical studies, this is deemed a natural defect resulting from biological degeneration. However, from the parameter of the inter-reflexibility of lives and non-dichotomy, the existence of the asexual flowers is inspirational and worthy of our cogitation.
A flower’s ability to transform, transduce, and inspire predates ancient human civilization. While Peter Opheim’s “creatures” suggest to its viewer the presence of living organisms and the extrasensory perception. “The Sublime and Elusive Flower” of recent is some of the most atmospheric in Opheim’s repertoire; this is most evident in the softened colours, the living organisms’ ability to self-heal, the freshly sprung up sprout grown from remains buried underneath the ground.
Opheim’s works also possess a linguistic quality, with the effacing of ego, the delicate presence of flora, and their implicitly inspirational nature. The ethereal color palettes, and distant rhythms within the pieces all serve as the reflections of the artist’s spiritual sojourning.
Through pollination, a process achieved by butterflies, bees, and beyond, a flower ultimately bears fruit and reproduces, completing the cycle of life. Flowers have occupied multiple symbolisms across different cultures. For instance, the Paradeisos, one of the seven wonders of the ancient world, was an aerial floral garden built by Nebuchadnezzar II of the Babylonian Chaldean dynasty to solace his homesick wife. The Greek word paradeisos later became paradise, taking on the meaning of the Christian heaven.
However, another kind of flower in nature differs in its reproductive process due to its incomplete evolution. Asexual flowers refer to a species that lacks stamens and pistils; the hydrangea is one classic example. From the perspective of botanical studies, this is deemed a natural defect resulting from biological degeneration. However, from the parameter of the inter-reflexibility of lives and non-dichotomy, the existence of the asexual flowers is inspirational and worthy of our cogitation.
A flower’s ability to transform, transduce, and inspire predates ancient human civilization. While Peter Opheim’s “creatures” suggest to its viewer the presence of living organisms and the extrasensory perception. “The Sublime and Elusive Flower” of recent is some of the most atmospheric in Opheim’s repertoire; this is most evident in the softened colours, the living organisms’ ability to self-heal, the freshly sprung up sprout grown from remains buried underneath the ground.
Opheim’s works also possess a linguistic quality, with the effacing of ego, the delicate presence of flora, and their implicitly inspirational nature. The ethereal color palettes, and distant rhythms within the pieces all serve as the reflections of the artist’s spiritual sojourning.
