Sent with perpetual love, Installation, 2021


The term “floristry” refers to the visual presentation of floriography (the language of flowers) or more profound connotations through the use of technical means and the delicate arrangement of plant materials. The wreaths and baskets commonly used in funeral rites, in fact, first appeared in Western ceremonies and have since been widely used. When confronted with large amounts of white flowers, humans immediately recognize the cultural symbols of sorrow and mourning among all possible references to botany, materiality, and other manifold significations. They then immerse themselves in the context of the composite form of mourning floristry.

Sent With Perpetual Love is part of the ongoing series “Mourning House”. The cut flowers themselves never last; they only decay. However, solidified and subsequently abstracted through digital remaking, the flowers printed on physical cards along with the link addresses mourning.house seem to have fulfilled their wish of immortality. After distribution, they move towards dispersion, eventually echoing the coming-together of funeral ritual spaces in the digital space.



以永恒的爱寄出，装置，2021


“花艺”指通过技术手段、材料的错落组合，以视觉呈现花语或更深层的意蕴。丧葬仪式中普遍使用的花圈、花篮形式实则最早出现于西方庆典中，尔后被广泛应用。在面对大量白色花材时，人类根据普遍经验在植物学知识、材质特性与多重象征含义的指涉中，首先指认了代表着悲哀与死亡哀悼的文化性符号，进而浸入丧礼花艺制式组合的语境中。即作为局部的棋子存在于棋局的整体中时才被确立属性。

《以永恒的爱寄出》为仍在进行的系列作品《Mourning House (哀悼之屋) 》中的一件。切花本身易逝，只朝向腐败，经数码重制的凝固再抽空，与链接地址mourning.house批量印刷于实体卡片上，便仿佛实现了永恒存续的愿望。在分发之后走向离散，最终与数码空间中葬礼仪式空间的聚集相呼应。



[Translation from Chinese to English by Dakota Guo]