Floral Pilgrimage yr III // #Blauwhaus Artist Residency, Belgium 25.04.19 - 17.05.19



Absolute pleasure to be invited to this residency, exhibition, lecture and collaborative working space set up by Wim Wauman in a Castle in Waasmunster, green green Belgium. The project morphed from being a celebration of female arts and crafts makers / muses with him at the helm as Blue Beard to a working unit of craftspeople, with talks and tours organised exploring local history and Bauhaus ethos. Together we worked towards expanding the heraldic crest of Waasmunster - a mermaid holding a turnip - via many tangential connections found in The Wasteland / Waasland, hyperborea - land of eternal Spring and immortality, flat earth theory, colour blue, trees of heaven for presentation as a parade, featuring performance and installations on May 26th.

bauhaus small.jpg
Powers of x 10 conceived of by animator  Isabel Bouttons  and droned by  Melvin Vanderstylen  at the May Day Picnic, 2019.

Powers of x 10 conceived of by animator Isabel Bouttons and droned by Melvin Vanderstylen at the May Day Picnic, 2019.

As part of the residency, I gave an introduction to my work as The Floral Pilgrim to students at The Academie of Waasmunster and invited class to create their own floral bouquet in a small cone to befit the Monster of Waasmunster, replacing the turnip with something more delectable.

IMG_9208 small.jpg
IMG_9177 small.jpg

Props for the Parade //

At the Academy I worked with glass sculptor Veerle Verschooren and tattoo artist / sculptor Cardon Lander; to create an illusion of a water source from one section of the groups communal table, with the idea of adding floral touches as an alternative well dressing. The small brown pots, designed to display grass blades are part of it. The full installation will only be revealed after the 26th ;)
The object on the right is a pipe, one of 8 made, hoping to plug in a gap at the Local Museum that has an extensive Happy Smokers display rack but a comparatively limited selection of pipes. These will then form part of an installation on a picnic blanket embroidered with group poem and Waasmonsters created by Ilse Van Roy. One pipe will hang on a walkingstick designated for Wim, designed and conceived of by Warre Mulder and Chantal van Rijt.

IMG_9362 small.jpg
IMG_9353 small.jpg
IMG_9382 small.jpg
IMG_9408 small.jpg
Daniel Ost, 2012 -  Belgian Floral Art Superstar Installation  - at the Roosenberg Abbey, Waasmunster.

Daniel Ost, 2012 - Belgian Floral Art Superstar Installation - at the Roosenberg Abbey, Waasmunster.

IMG_9106 small.jpg

Floral Pilgrimage III // The Dutch Flower Route _ What 👁️ Saw 22.04.19 - 25.04.19

IMG_8812 small.jpg

The Flower Industry

Monday 22nd: Finding the Bluemenstrecke

Left from Folkestone with Liz and Carol, entered via freightlane, pulled over with an emergency stop and boarded train - France - Belge (picnic lunch in Flora!) - Haarlem / start of the Flower Route. Stayed lovely Air B’n’B where other guests mistaking my height for being Dutch owner kept telling me where they had left the keys.

The shut Pilgrim Museum in Leiden displaying it’s Dutch still life charm.

IMG_8883 small.jpg
IMG_8885 small.jpg

Tuesday 23rd: Keukenhof

Bluemenstrecke, bright fields behind the hedges; straight lines peeking round. Cut tulips for sale on the side of the road and rows rows of flowers being sprayed. Lunch in Leiden after dining out on feast, swathes of star, bulbs, grape hyacinth at Keukenhof “Mega Garden.” Night in Waaldwick: bedazzled by glasshouses, skies and skips of flowers.

IMG_8890 small.jpg
IMG_8901 small.jpg
IMG_8902 small.jpg
IMG_8908 small.jpg

Wednesday 25th: D I S C O

Visited Flora Holland / Flower Auction and entered the NO tourist zone. Serious forward sloping arena of mainly manly back apparitions, with flower trolleys rotating to pop music. Dif. wheels of $$ fortune spin, while a man holds sample as trolleys move behind, like some kind of whirlitzer, where you realise that you cannot process your surrounds at the pace they move in so let it go, minor whiplash at brush with price / scale.

IMG_8909 small.jpg

Sarah Boulton // Zinc Violets ongoing


Zinc Violets is an ongoing work by my friend and ephemeral artist extraordinaire Sarah Boulton. Together we have collaborated on a few projects - as she now lives in Wales / was giving birth! / was on a residency - I have performed works (normally minimal gestures) on her behalf in London.

She invited me to be part of this project last year, at it’s opening in Masons Yard where Polly Wright and myself laid two identical paper poems down, very slowly at the same time.

Mason’s Yard and Sarah Boulton present an exhibition happening in the space of an evening, comprising of two intangible artworks. One is a prediction and the other, a scent. Both have occurred and will be occurring.

Extract from Press release, Masons Yard

The poems and project relate to a place called Epen in Holland, which given trace element zinc in the local water supply has changed the nature of the local violets, becoming a beloved emblem of the area.

As part of my Floral Pilgrimage pursuits, I am hoping to journey to Epen and find the violets on Sarah’s behalf. She wrote to me to tell me her latest thoughts, after I realised that although the residency at Blauwhaus was close it was too far to be able to visit that trip.

Currently, the next time Alice or Polly does a search in Epen, I am planning to spend the time predicting and every time I remember that I am predicting I will write down a short observation of what I see in front of me wherever I am. I am interested in the distance and these transformative flowers being at the end of the work, stretchable and transformative as it is.

What does a prediction feel like? To me it seems quite unlike most Contemporary Art, and yet a lot about contemporary life.

The flowers are always there in the back of the mind. Influencing and influenced.


Floral Pilgrimage II / Caergybi 18.07.18 - 21.07.18

To the Lighthouse small copy.jpg

Continuing on the floral pilgrimage 2017- 2018 I started a collaboration together with artist and educator Amy Ash, this time contemplating both physical and political changes to the landscape. We were drawn to walking around Holyhead, an island protruding off Wales, in alternative directions retracing the steps of St. Cybi and St. Seriol. One Saint who faced the darkness, the other the light which felt like a dualistic coping metaphor for the political horizon. This follows a period of dark reflection as Amy although married to a Londoner was nevertheless coerced into leaving London due to visa issues and so I walked in her place during Summer 2018, exploring sites of importance as either St.

IMG_4743 copy.jpg
IMG_4765 copy 2.jpg

On the walk I was both being documented in the landscape and taking photographs of my hands with religious imagery (self awarded pilgrimage stamps) within the landscape for a more embodied viewpoint. This dual documentation also reflects both the simultaneous outward and inner pathways offered by spiritual journeys often symbolised by the spiral. Then using snack bar wrappers, local pamphlets and these images, I sent her a map-place of the Island, something to both peruse and wear / physically enter the space.

IMG_4934 copy.jpg

Haverthorn V.4.1 // Magasine collaboration, Spring 2018 with Camilla Nelson


Camilla Nelson

Haverthorn magazine is a literary magasine edited by Iris Colomb and Andrew Wells. Each magasine has a section that teams artists with poets in collaborations. I had the pleasure of responding to Camilla Nelson's existing work "Magnolia" and she created "Scorn Dolly" as inspired by my work "Closing the borders opened the gates of hell" photographed by Sebastian Trustman.

In order to get closer to Camilla Nelson's poem which seemed to me to express a harrowing and fragmented desire of something you do not really want, I worked with my flatmate to explore our fears concerning (although not necessarily related to) our desires for the future. The outcome involved envisaging a landscape surrounding the female form with abstract floral shapes of future pressures built from: self, society, family.

Sketch for Haverthorn response.jpg
sketch two.jpg
fear of I.jpg
Fear of II.jpg
Fear of III.jpg
louie in B.jpg
Haverthorn Dual I.jpeg
Haverthorn Dual II.png
HVTN II colour edit.jpg
HVTN III colour edit.jpg

Floral Pilgrimage // Pilgrims Way ongoing

Pilgrimage Tabard.jpg
Ready for the unknown between Ned Kelly and Don Quixote: shield, stead (chihuahua), stick (chanel), helmet (aunt's schawl) and armour (knight's own.)

Ready for the unknown between Ned Kelly and Don Quixote: shield, stead (chihuahua), stick (chanel), helmet (aunt's schawl) and armour (knight's own.)


Over the last three years I have been creating costumes designed for everyday living or survival in London. These have mainly taken the form of newspaper costumes, including an outfit made from icons from an app designed to help you save money, a floppy paper suit of British armour and tassels developed for attachment to a cloak or shield designed to both represent and ward off fears concerning Brexit.

My latest costume is an evolving pilgrimage suit that I started work on last Summer in connection with a series of workshops and commission for a cabinet space at PEER Gallery. Milk tops from a collection of mine have been insulated with tape and pinned onto a mail sack. I went on my first walk last year along a section of the Pilgrim’s Way with my dad then using images from the walk, have hand cut my own milk tops attaching them into the costume to replace damaged or worn patches with seasonal flowers and sights.

This Summer together with artist and educator Amy Ash we will walk around Holyhead in alternative directions retracing the steps of St. Cybi and St. Seriol. We will both be contemplating physical and political changes to the landscape, myself from the perspective of an independent florist and herself as an artist married to a Londoner but nevertheless coerced into leaving London due to visa issues.


Floral Heraldry // Summer Cabinet Commission at Peer Gallery and Workshops 07.17 - 09.17

Peer Gallery_ Floral Heraldry_ Alice McCabe copy.jpg
P1070386 copy.JPG
Cabinet 2.jpg
Cabinet 2 II.jpg

Cabinet 1, 2 and 3 including last instalment the bouquet dispenser.


4 Seasons was a commissioning programme exploring wildlife, biodiversity and the artists’ interest in nature supported by Ernest Kleinwort Charitable Trust. The brief was to create a seasonal display in a cabinet attached to the gallery, to be updated throughout the season.

My summer cabinet is a floral account of the everyday, documenting changes in seasonal cut flowers via flowers used in bouquets alongside wider news stories and accumulations of desk detritus. News images are conditioned and cropped as if they were flowers, whilst a more uniform stencil (that of a Swiss Milk Top - see my archive here - ) shapes the artist’s own personal paraphernalia. The resulting synthetic petals will then be transformed into wearable objects such as chain mail, votive necklaces and visors to be used and deposited on a walk from London, crossing the fabled Isle of Thanet emerging in Dover, to survey the changing European landscape from the perspective of an independent florist.

Summer Party_Justyna Fedec_55 copy.JPG
2 copy.jpg
IMG_0630 copy.jpg
group copy.jpg

Clockwise from top left: Arden Estate Shakespeare Summer Party, Artists' Inventories an artist's talk at PEER and hand-tied bouquet making workshop at Shoreditch Library.

Beuys Bouquets // 17.07.17 - 29.07.17

DSC05540 copy.jpg


Together with the director of the Beuys Residency in Connemara, James Mansfield, we set about following the traces of Beuys in Connemara through the tides, a closed seaweed factory (another site of energy come and gone), and use of bespoke Irish alternative therapies.

These treatments included the healing use of seaweed, fett, flowers (organic materials) presented to the landscape and re-organised for the other as gifts and talismen. Some non organic local products were also drawn upon: including icecreamcake and teabags.

DSC05587 copy.jpg
IMG_8397 copy.JPG

The seaweed factory. Two blocks of fat, a lemon, scissors and a camera. No further seaweed on site. Plenty of rust, cow dungs and explorations. Time spent creating bouquets in fat on site,  inserting flowers as the fat warmed and using only flowers from that specific point to go together. Natures curation, re-organised in alternative energy source. 

DSC05548 copy.jpg
DSC05542 copy.jpg
DSC05552 copy.jpg
DSC05573 copy.jpg


IMG_8732 copy.JPG
IMG_8737 copy.JPG
IMG_8769 copy.JPG

The shells grow inside to outside, looking up throughout a spiralling process, harder and finer.

Left Take one sore hand, wrap in butter, felt, before charging with blackberries and hard yellow shells. Right Shell charging station

IMG_0498 copy.jpg
IMG_8304 copy.JPG

All of these activities provided a huge amount of internal warmth!


The Jamie Brannan Archive // Tannery Arts Project Space 28.05.17 - 25.06.17

Curated by Theresa Kneppers featuring the work of Priya Sundram, Christian Corless and my own paintings and flowers.

LEFT: California #0392 Super Blooms and Priya Sundram's Corporate Poster

LEFT: California #0392 Super Blooms and Priya Sundram's Corporate Poster

The Jamie Brannan Archive Exhibition is a visualisation of a larger research project about the art collection of an early San Francisco Bay Area tech entrepreneur whom commissioned and collected artworks while creating an influential start up.  

Jamie Brannan’s business, GoldRush, an online flower delivery company promised to deliver arrangements in selected cities within a half hour of their orders. GoldRush took off with major investment in the mid to late 1990s developing a network of warehouses and delivery vehicles. The company and its initial hires were based in Brannan’s Mid-Century Eichler tract home.

With the early success of her business Brannan began to purchase and commission work by Bay Area artists that were hung in her home. Brannan’s collection included works by Bernice Bing, William T Wiley and Squeak Carnwath, as well as unknown young artists and graphic designers from the California College of Arts and Crafts. After the dot-com bubble burst Brannan left the tech industry in 2001 dissolving her art collection of an estimated 250 artworks.

The Jamie Brannan Archive Exhibition combines archival materials with the works of young florists, artists, illustrators and graphic designers that reflect the ethos of Jamie Brannan’s original collection. Inspired by California wildflowers and the type of arrangements that were sold through the GoldRush website, Alice McCabe, a florist and painter has developed two floral arrangements. Paintings by McCabe echo the inventive abstract narratives that Brannan seems to be drawn to in her own collecting practises. Illustrator Priya Sundram responded to Jamie Brannan’s unique position as a female entrepreneur in the tech field by creating a series of posters. Based on a former employee’s description graphic designer Christian Corless has reconstructed the GorldRush logo.

McCabe, Sundram and Corless’ contemporary pieces highlight the distinctiveness of the Jamie Brannan collection in the nascent dot.com world and opens up questions of the relationship between the art world and tech collectors.

We would like to thank James Mansfield of the Museum of Imaginative Knowledge and an expert in 1990s computer culture for his support and research into Jamie Brannan’s collection. 

For more information instagram @the_jamie_brannan_archive or www.theresakneppers.com

LEFT: Goldrush Logo by Christian Corless / visualisations of the collection and paintings by myself.

LEFT: Goldrush Logo by Christian Corless / visualisations of the collection and paintings by myself.

LEFT: Sample Frequent Flowers Weeks 1993  26.05 Man - U - lip - U - Lator  02.06 Mandocello  09.06 Dream Police  16.06 I want you to want me  23.06 California Man  Painting "Floral Cycles" 2015

LEFT: Sample Frequent Flowers Weeks 1993

26.05 Man - U - lip - U - Lator

02.06 Mandocello

09.06 Dream Police

16.06 I want you to want me

23.06 California Man

Painting "Floral Cycles" 2015