Marisa Culatto 50ml EDT
Head – Rosemary, Peppermint
Heart – Marjoram
Body – Mulled wine, Frankincense
Description – An ode to Hungary Water; the first known European perfume making process which still informs our understanding of the workings of scent.
Culatto’s Honest Landscape 2 was taken on a road from within the car. Thus it depicts a journey. It does so literally, but also conceptually as part of a series of photographs put through an established process that sees original images reworked, printed with a faulty home printer (which distorts colours), manually crumpled, and re-photographed again. This highlights how process driven work places the artist on a personal journey as well as the literal journey portrayed in the subject matter.
Culatto’s work and corresponding perfume portrait were exhibited at Centrespace Gallery, Bristol, in October 2019.
Catherine Higham 50ml EDT
Head – Fresh linen
Heart – Geranium, Indian geranium, Rose geranium, Rose
Body – Ylang ylang
Description – Referencing an essential oil discovery set, this fragrance acts as a test bed for floral fragrances, offset by a clean, neutral top note. Perfect for discovering preferences and nuances.
Higham’s painting Horizon is concerned with the materials and processes of landscape; both natural and fabricated.
Higham’s work and corresponding perfume portrait were exhibited at Centrespace Gallery, Bristol, in October 2019.
Edie OP EDT 50ml
Experience the innate joy in an expanding and infinite landscape! This fragrance reminds you that anything is possible and that allowing an organic love for life to breathe and develop will in turn breed creativity.
Joyfully happy, this fragrance attempts an intense positive hit, but at the same time is steeped in reality. The sweet scent of Orange, Lemon and Cinnamon bark attempts this instant positive hit, while May Chang ensures such positive energy lingers rather than evaporates.
This fragrance was created by interpreting and investigating a response to the question ‘Why do you make art?’ If you are an artist (in the broadest sense of the word) I would love to her your response to the question too, as it will enable me to create a perfume portrait that captures the essence of your creative persona. These perfumes will be on display at Bank Street Arts, Sheffield, early next year.
Leaving food alone for a bit to think about trees instead.
Landscape. It’s a subject that – like still-life – can be given a bit of a kick up the arse in order to allow it to become relevant in the 21st Century. If we take into account my incessant desire to progress and embrace new artistic direction, it seems appropriate that a departure from food can emerge in the shape of re-considering landscape.
So winter is (Finally) beginning to recede, buds are tentatively emerging from trees and, more noticeably, embalms associated with the spring are beginning to appear: Woodland creatures can now be found on crockery, floral designs began to emerge on garments and as I was walking down the street, I noticed a woman wearing a small acrylic pin badge cut into the shape of a fox. Bearing this in mind, a poem began to form mentally, which regarded the acrylic fox-shaped badge as an object which, despite being lifeless, still retained connotations associated with a fox:
Now, bear with me – there is a point to all this. You see, my initial hunch was that this poem must be related, or relatable, to the notion of re-considering landscape. And upon pondering the relationship between the two some more it hit me – The fox in my poem is of interest because it is removed from nature: It becomes a component; an emblem that, through the medium of plastic acrylic, is able to transcend its surroundings and become a symbol, a fashion statement, an entity that becomes open to subjectivity and abstract thought. The fox is no longer an animal that is merely attempting to survive: It is instead a statue.
Can we apply this to landscape? When the components of landscape are removed from their surroundings, and applied to something else, what are we left with?
I propose that by manipulating these components just enough so that they are to become perfectly usable as paints, whilst still enabling them to retain their intrinsic natural elements, then what you will be left with would be a medium with infinite possibilities which can be applied to a surface and at once represent visually whatever subject an artist wishes, whilst also retaining the subject of landscape: Landscape will still exist – incognito, still and subtle – but embedded within whatever subject the paint is said to render.
So basically, I’m doing what I did with food, only with landscape, except here I am regarding the components of landscape in a richer way. This, in turn, has allowed me to ask critical questions of my food-based practice. Why am I choosing the food I am choosing? Are the components of a meal more important than the end product? Does an audience consider the same food relevant as me? These questions would not have emerged if I did not take a slight departure from food to consider landscape: Therefore, my professional development may have stagnated. This confirms my belief that it is important to embrace whatever challenges come your way: If you don’t, you may end up creating things of no value to an audience.