study for Gusts in the Hothouse

Gusts in the Hothouse, 2016
photographs, paracord, grow lights, oscillating fan

Aimée Beaubien’s photographic practice takes shape in inventive forms. Responses to color, pattern, space, structure, time and place are translated from her printed photographs into sculptural interventions. Gusts in the Hothouse meditates on the garden as a space defined by interactions of order, disorder, and temporality. Gardens are collections and conveyors of time from the evolutionary to the ephemeral. They are marked by seasonality; by various internal cycles of life moving at different speeds. Interdependent systems multiply, bloom, grow, intertwine, and die. Gardens are nature gathered together; immaculately tended or grown wild; public space or private refuge. These botanical entanglements provoke a series of experiential shifts between visual representation and physical encounter: leaning, shooting, bedded, staked, staying. Drooping, reclining, pitched, and placed. Sloping, jutting, braced. Holding, heaped. Planted and spread.