pass i flora
The Pass i flora project is divided into several parts. The first one, “Mutatio”, is co-produced with the composer Miguel Carrillo Samper. The focal point of the series is chaos, seeds and life, the almost biological mutation that is originated in chaos or by chance to later on give way to new definitions of reality.
pass i flora
The Pass i flora project is divided in several parts. The first one, “Mutatio”, is co-produced with the composer Miguel Carrillo Samper. The focal point of the series is chaos, seeds and life, the almost biological mutation that is originated in chaos or by chance to later on give way to new definitions of reality.
This work is followed by a photography assortment of the “Bellas durmientes” series (sleeping beauties). These are pictures of a house that was suddenly abandoned in Córdoba, Colombia, where the vegetation has taken over the architecture, like another guest that silently takes over.
There are also works in oil and acrylic on canvas, graphite drawings, porcelain and embroideries that within a trade of delicate work revive the idea of transformation, mutation and renovation. In these works, Ana gives special attention to flower species such as roses, orchids and pasiflora.
The pass i flora series of porcelain and drawings are inspired on the flower named by Carlos Linneo on the XVIII century and on the plant genre that comes from the Latin words flos passioniss that literally mean << flower of suffering>> or << passion flower>>.
Passiflora is also known as mburucuyá or maracuyá, in popular language. It is a climbing plant of the Passiflora genre, native of the warm regions of South America. Its original traditional name comes from several popular legends about the passionflower’s origin. One of them narrates the story of Mburucuyá, who was a Spanish girl who fell in love with an indigenous guaraní, with whom she secretly met. The girl’s father, who served in the military, had already decided that his daughter should marry a young Spanish captain. When he learned about her relationship, he decided to kill the young guaraní man. Mburucuyá, in pain, stabbed her heart with a feathered arrow that remained on her body like a flower, and fell on her lover’s dead body. They say that some time later, in that tragic place, a plant sprouted and was named maracuyá.
Pass I flora reminds us of that cycle of pain and death that gives way to new ways of life and transformation.