The use of flora as a subject matter has been a common and favoured theme amongst artists, being powerful symbols and representations of peace. Beyond their aesthetical and decorative utilizations, floral imagery has conveyed ideas from the refined to revolutionary since time immemorial. 

The depiction of floral elements can be found in the most significant of art movements in the West. From the near scientifically accurate Still Life with Flowers (1617) by Ambrosius Bosschaert, to Vincent Van-Gogh’s post-impressionist, Still Life with Irises (1890) and finally, Claude Monet’s iconic Water Lilies (1908). This was not unfounded in the East either, as evidenced by Ukiyo-e master Hiroshige’s depiction of hibiscus flowers in Hibiscus (c.1845) and Xu Xi (Hsü Hsi), in Butterfly and Chinese Wisteria Flowers.

Unlike their Western counterparts, flowers not only speak a language of their own in Asian art, they sing. Like a perfectly harmonized symphony, a consonance. Every bloom of a flower and fluttering of cherry blossoms tell a story. 

The works in The Consonance of Efflorescence demonstrate the timelessness of floral themes in art by celebrating and honouring the roots of the genre, and inviting attendees to experience the language of flowers and ‘listen’ to their song. What stories will one hear from the melody of bloom?

The Consonance of Efflorescence features a collection of Chinese floral and bird paintings from South-East Asian artists, Ching Kek How, Christine Mak, Goh Beng Kwan and Tay Poi San.

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