The exhibition Qui. Altrove, through the works of the three Floral Designers Senior, tells their personal interpretation of the flower and the values of Floralism.
Qui. Altrove carries forward three different visions of the three Floral Designers who with their installations interpret the values of Floralism, and tell their personal approach to the flower.
Floral designer and founder of Copihue Floral Studio. She was born as a psychologist and change management consultant in the field of urban redevelopment, then grew up as a floral designer in Rome, Milan, London, Florence. Inspired by the balance of ikebana, the trends of San Francisco and the contemporary reinterpretation of 18th-century Dutch painting. Floral design is for her a different perspective of an emotional story, which explores new times and new spaces and takes shape from the principles of design and the revision of relational forms. Floral design describes a time unknown to her: when the flower ends being fresh, for common sense, it stops being beautiful; but after its conventional time, it transforms and takes on unexpected shapes and colors. This is why, paradoxically, it expresses an unconventional aesthetic for her: the flower is not the end of what you know, but the beginning of what you don’t expect. She founded Copihue to close a circle with his Chilean origins and open a new one: dedicated to lightness, sharing, freedom and happiness in being surprised, every day, by the strength and tireless mutability of the flower.
It takes a flower to do everything, said an old song. Flowers represent our origin in a broad sense, the moment when nature offers itself as a gift, expressing its power in the form of beauty. They are a promise of continuity and life, despite their very life being absolutely fragile and ephemeral: for this reason they are the emblem of love.
The flowers took him to Paris from 2000 to 2001, in Christian Tortu’s shop. It was the most beautiful flower shop in the world. For Armani Fiori he worked from 2002 to 2005 in Milan, first as a director and then as a consultant. From 2005 to 2007 he lived and worked in Japan, finally in 2008 he moved to Rome where he worked for several years with Tearose. In 2016 he participates with Tage Andersen in some projects. Rome is his landing place, which is why the name of the city appears in its logo together with a Greek crown of myrtle: myrtle, dear to Aphrodite and which represents love in all its manifestations.
Alessandro Cambi’s installation Almost there takes its inspiration from an anime by Hayao Miyazaki, Laputa (The Castle in the Sky). It is a fantastic world that remains after many (mis) adventures, like a green heart floating higher and higher in the sky and in space, with its roots, its flowers, its branches. Extreme refuge of the imagination and the promise of an elsewhere where the sap continues to flow, preserving its secret intact.
Dylan Tripp initially began his career in fashion, working for several years as a fashion designer for various style offices, such as Valentino and Fendi. In 2004 he created Paraphernalia, a multi-brand store in the heart of Rome, which soon became a reality known for its search for young designers, the unusual selection of emerging brands and the hospitality given to artists. Parallel to his work in fashion, Dylan Tripp develops his passion for nature and the floral world which since 2012 has become his only path. With a special eye for shape, color and movement, Dylan gives life to small botanical worlds that reflect a style where spontaneity, elegance and poetry meet, creating a contemporary floral aesthetic. This “floral” vision of the world leads him to work for events and important corporate realities that often require his compositions for set design events, flower services for boutiques, showrooms and hotels.
Please, come in
Starting from the evocative spaces of Portuense 201, the installation by Dylan Tripp is an open window on a fantastic botanical dimension, a magical portal from which the altered and harmonious flora designed by the floral designer comes to life as if to enter the space to take possession of it. In a dialogue between architecture and nature, the starting inspiration is the vision of all those spaces designed by man and then abandoned, of which Nature slowly reappropriates to make it its new home.