Flowers are attributed to symbols of sexuality and feminism. Thus, it is understandable why such figures make a poignant combination when paired with the female form. It is of interest to note that all the images neglect ascribing the image of the model’s face. The saying “a rose by any other name would smell as sweet” seems to be outlined by this pairing and deliberate ambiguity. It is not about individualism but rather the celebration of beauty in general, in this case, the beauty inherent in two of Mother Nature’s most sensual creations. The model is depicted in shades of colors complimentary to the flowers. This conjoining of female with flower invites one to view the body as an extenuation of the flowers, sparking the mind to imagine such a naturally occurring and beatific phenomenon.

The principles of close-ups to the flower photography simplify the composition of the image and optimize the background composition. The combination of flower photograph with implied, semi nude or close ups to nudes presents visual images filled with various different experiences where flowers merge at times with the subject in color and alignment inn lighting whereas at others the works are artistic presentations of contrast where vivid flower colors offer the vividness that brings the image to life. At other times the flowers are draped around the female body not as a complementary accessory but as a natural veil that conceals the explicit sexuality in preference of sensuality of form and suggestiveness of female hood. In this manner, the sexually suggestive component of the image is softened and the light sculpts the body. The emotional idea behind this series is pure naturism symbolized by the flower in contrast with nudism that highlights freedom of expression and the female’s confidence in being in alignment, in terms of beauty, with one of nature’s most graceful and emotionally meaningful objects: the flower.

© Robert WK Clark

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