With her series, FFF-XXX, artist Floriama Candea argues that contemporary society is dominated by the (ab)use of graphic/explicit imaginary of sex and sexual behaviour. In this context the artist questions whether sex is purely a physical act or if there is a deeper spiritual and emotional meaning to it. The series looks into the meaning and symbolism of sexual behaviour and sexuality as a human attribute. It is inspired by the exploration of sexuality and its visual meanings.
Almost all living creatures have some form of sexual behaviour. Because of this she has chosen to make an analogy between the reproductive systems of flowers and humans. The reasoning behind this is that flowers, as components of plants, are sexual organs. Whilst normally genitalia are not perceived as beautiful due to certain sexual taboos, the correlation between flowers and reproduction is generally absent. Flowers are seen as icons of beauty: fragile and seductive, they inspire to love; flowers even attract other natural forces through seduction.
This subtlety is absent in FFF-XXX. Flowers are represented as what they truly are: reproductive organs. In this series the artist expresses the correlation between the two different kinds of reproductive organs through the portrayal of flowers as human genitalia. The works evoke the beauty of flowers as a metaphor to the emotional aspect of human intimate interaction. At the same time however, the presence of human sexual organs in this traditionalist, almost baroque sense of beauty, will give a viewer feelings of disturbance. The works revolve around these feelings; whilst the explicitness might be subtle, there is still sort of guilty pleasure of looking at it.
As the artist explores, the viewer is invited to do the same since the repetitive aesthetic of human genitalia disguised as flowers return throughout the series. The sense of visual exploration is encouraged by the open composition of the works. They might seem infinite to the viewer, with each pattern being unique when observed more closely.
The images were digitally processed, combined and overlaid until a mirror-like relationship emerges. They were incorporated in larger compositions using a combination of print transfer techniques and other materials such as resin, oil, charcoal and others. This resulted in an accumulation of shapes and gestures that are repeated on layers, forming non-hierarchical, non-centred compositions. There is no actual evolution in the implied narrative of this imagery; no single motif is dominant in the composition. Thwarting the narrative is an important way to engage people’s interest.