Journey to the Flower Men.

This collection of ceramics started form during the social isolation period of 2020-21. During those times, clay as a grounding element became the diverting force away from rumors and conflicting news. Handling slabs and coils of clay provided a reassurance that could not be found elsewhere.

Slabs and coils turned into pots, plates and tiles; its surfaces inscribed with images of animals, mostly birds, through layers of slips, glazes and underglazes, and accented with oxides and carbonates. In some cases, cold media like ink, acrylic and oil paint was used.

While working with the subject of nature and its representation, an Internet search of the flora and fauna of the area led to the Flower Men of the Southern Arabian Peninsula, particularly in the high mountainous area on both sides of the border between Saudi Arabia and Yemen. The tribesmen in these isolated areas are known for their more than 2,000 years old tradition of wearing flower arrangements on their heads, not only because of its beauty and pleasant fragrance, but also for the medicinal attributes of the herbs. They wear flowered headpieces daily to work and more elaborate ones during special occasions, like weddings and holidays.

Although at first these men seem not to be tainted by Western cultural ideas of masculinity, equating flowers with femininity, they do have flower-wearing rules determined by gender: the women in their tribe do not wear the flowered headpieces, and the men only wear them in their community, but not outside where the tradition could be misunderstood.

The contrasts of these men’s face, reflecting the ruggedness of the mountains, with knives in their belts and flowers on their head, inspired my most recent work. From birds in social isolation to flower crowns in isolated areas, the inspiration is ongoing.