Imprintarchive - in bloom
We consume flowers daily visually into our living spaces and unto our skins. Most prints nowadays originate from the 1920’s originated patterns from America easily repeated small flowers, Ditsies the most inexpensive pattern. With no further meaning or origin. Some don’t even imitate a certain owner but the archetype of an image (all over no-directional) next to imitations of Chints patterns(originated from India) now produced and designed in China. Still representing exotic flowers, which are not so exotic anymore at the moment due to cultivation and importation.
On fabric the idea of repetition takes place in so called patterns. On objects we enjoy the peace of on of or a family of different flowers. Still all of them are artificially represented and created. Wallflowers- extracts and imprints in communication of the raw material and the processed.
Of those residues have been traced in a printing technique; in bloom-in an imprint archive.
The process continues to be explored in other places and in relation the found cultivated nature. These residue of nature introduce a printing stage between imprint and form. No filters or proportional change but rather selecting the plant flowers species upon its real nature for fabrics and wallpapers.
The Botanical selections originated from an abundance of leftovers at flower markets and floriculture in Netherlands and India.
The process in itself is a product; introducing all the materialities from the harvest to print and its final results.
No chemicals where used only natural fixators and natural ingredients from the flowers themselves. A print method for textiles and on paper.
In the same rhythm of block printing each flower is repeatedly imprinted into the material with its color, form and imprint.
When consuming natures botanic on our skins, fabrics and walls one refers to an idyllic illustration of nature.
That has to remind us of nature’s form study to be perfectly gained from a block printed perfect machinery repeat.
By removing the process of the perfect imprint one has to select the flower by it's form, color and botanical structure in its real dimensions.
All prints have been fixated with natural decoctions. Flowers have been donated by floriculture and abundance at flower market. In the nature of natural dyeing techniques the process has been simplified through pressings and hammering. To revive the Block printing craft and nurture labour and practice to continue in the actual nature of an imprint.
Information submitted by the maker and edited by the Future Materials Bank.
Flowers, fabric, paper.
Design Academy Eindhoven Contextual Design MA, Biodesign William Myers Het nieuwe Instituut, Doen-materiaalprijs van abbe museum