IMPERMANENT Arthur Williams + Stacey BAL MPERMANENTWhat would I do without the absurd and the ephemeral?” Frida KahloArthur Williams and I initially embarked on this project expecting answers but found during this process that the more valuable outcome, the solutions, arrive in the form of questions. Growth and wealth, if you will, have deeproots in curiosity and true presence. Suffering significantly decreases whenyou (we) embrace impermanence, imperfection, and transience. But what is imperfection anyway?   In this concept-driven journey, Arthur and I explore the visual interpretations of twenty-one words we hold close to our hearts and souls, with impermanent materials as the medium. How do personal experiences influence one’s definitions of words and concepts? Do they have the power to sway from positive to negative or vice versa? What makes anything negative in the first place? Does anything really last, or does everything evolve?   We did not travel this journey alone. It is here we give thanks to: • Jet Fresh Flower Distributors • Alexandra Farms • Robin Avni • Travis Rigby • Kathleen Dillinger • Hitomi Gilliam AIFD, CFD • Tomas De Bruyne • Rosie Carlton • Joshua Landis • Leon Gallery • Calabrese Greenhouse • Dan De Los Monteros • Jonas De Vestel • Mariya Byelikova • Colin Gilliam • Nicole Perez • Peter Keltz • Maxwell Frantz • Kari Smith AIFD, CFD • Amie Oakley • Skyler Heck • Chuck Hutson • Dan Devlin • Mary Pappas • Sarah Melching, Director of Conservation, Denver Art Museum   We welcome you to step into our minds, our processes, our madness. Learn with us, grow with us, evolve with us. All the best, Stacey dedicationCONTENTS ARTIST STATEMENTS CULTURE KINTSUKUROI MA TAKIWATANGA TRUST WAVE BIOMIMETIC ANDROGYNY 34 50SURREAL MONO NO AWARE POSSESSION TENSION CHIMERA NOCTURNE PROJECTION NOMADIC KAMI PANDORA PORTAL UTOPIA AURA BIOGRAPHIES 96 142010 ARTHUR WILLIAMS ARTIST STATEMENT My work is all about the tension of opposites: man versus nature, soft opposing harsh, new life sprouting from the remnants of last year’s harvest. My medium is botanical: fresh floral materials and dried branches. I often use people in my work to give voice and movement to the flowers to create still-life performances where I selfishly incorporate models into floral moments. I draw inspiration from tribal cultures and European myth, weaving stories into my work, giving people reference points from which to continue the stories for themselves. The ephemeral nature of my work forces me to push the boundaries of both my materials and the traditional conceptions of what floral art/design can be. Nothing that comes from nature can be untrue. STACEY BAL ARTIST STATEMENT I work with nature for its improvisation and impermanence, for its delicacy and strength, for its innate realness and rawness, and its undeniable universal nostalgia. Curiously, I blur lines between the outside and inside worlds, boldly challenging the definition of what belongs where while intuitively exploring complex color stories. A rebel with a cause driven by the mutually beneficial nurturing partnership of nature and humanity.011KINTSUKUROI Golden repair: The Japanese art of repairing broken pottery by mending the fractured areas with lacquer dust mixed with powdered gold, silver or platinum. This ancient philosophy states that breakage and repair are part of the rich history of any object. KIN-TSU-KU-ROI019Next >

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