after Eden project
after Eden project
The after Eden project(1995-1999) involved plant-life, notably apple trees, which are often referred to as the Tree of Knowledge. It used a variety of horticultural techniques including micro-propagation and hydroponics to create support systems or micro-climates to keep the plants alive. The artworks were strongly informed by quantum physics, as a way to reconsider the taxonomy and 'top down' thinking model that our culture has inherited. It explored inter-connectedness both as a concept, and as way of working. As such, Edwina collaborated with individuals working in other fields, and created works in situ rather than in a studio.
The installations explored mutability and change - the plants' growth, flowering, fruiting and/or decay created the overriding narrative for each artwork. The projects celebrated the inter-dependency of humans on each other and our relationship with (and concept of what is), 'Nature'.
‘Of the assemblages, only Edwina fitzPatrick’s Conception of plastic tubing, clamps, water, apple pips, a live apple tree bearing fruit, and the family tree of the decent from Adam and Eve written in pencil on the wall, is intelligent, witty and exquisite enough to justify the genre’
Brian Sewell. Evening Standard 1/9/96 on the Whitechapel Open.
The installations explored mutability and change - the plants' growth, flowering, fruiting and/or decay created the overriding narrative for each artwork. The projects celebrated the inter-dependency of humans on each other and our relationship with (and concept of what is), 'Nature'.
‘Of the assemblages, only Edwina fitzPatrick’s Conception of plastic tubing, clamps, water, apple pips, a live apple tree bearing fruit, and the family tree of the decent from Adam and Eve written in pencil on the wall, is intelligent, witty and exquisite enough to justify the genre’
Brian Sewell. Evening Standard 1/9/96 on the Whitechapel Open.