NATIVE
The intention to undermine a superficial reading of the work as falling easily within the decorative genre of ‘floral arrangement’ is echoed inthe techniques employed. The prints, created with classic photographic processes (large format negatives and C-type prints), are undermined in turn by treatments which transform and ‘abrase’ the surfaces of the original negatives. They are variously scratched, sandwiched, painted and drawn on, bleached, or displayed as negative.
“The work is sensory,” Amos says. “They are not pure or scientific representations of plants. They are not photographed in isolation as single blooms or fronds on a sterile field, nor taken at fixed points in
time that represent a pinnacle of a specimen. I am more interested in an expression rather than a factual account of their existence. Many are imperfect and without ground, yet still arresting and beautiful.”
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