In the third room, attachment is visually obvious, since it becomes the principle for which all the materials that form the piece come together. A large number of fresh flowers are captured wrapped in candle paraffin wax, keeping intact their original aspect while the flower within follows its natural cycle and slowly wilts.
All of these flowers are suspended with thin threads, like puppets or like an illusion of lightness and absence of weight, as if time was somehow stopped or slowed down. “La salle aux fleurs” reflects on attachment to a moment, to the past or to time itself. Being not far from a vanitas concept, it explores the will of immortalizing a reality that is inscribed in a cyclic process and that is mutant per natura. Suspension as a desire becomes the mantra of the piece, while revealing an organic approach to life and to attachment itself.