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They are vast, abstract blocks of colour from afar. Regimented, seemingly infinite rows, of orange, yellow, pink, and red. An astonishing sight. An immense whole composed of hundreds and thousands[1] of one small thing: a tulip, tulip, tulip. Repeated to infinity.
Such was Claire Milbrath’s experience when first arriving to Keukenhof gardens in Lisse, Netherlands in 2023. A pilgrimage to 79 acres of land where about seven million tulip bulbs are planted each year. In these deliberately organized colour blocks of flowers, Milbrath recognized devotion, obsession, and an extreme beauty that simultaneously felt boundless and like it was contained within an artwork, recalling Maurice Denis’s statement “that a painting […] is essentially a flat surface covered with colours, put together in a certain order.”[2] It was a feeling of rapture. It was a spectacle to behold, to move toward, approaching closer and closer, until the long strips of colour became a single flower. A flower that…
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Press Release
They are vast, abstract blocks of colour from afar. Regimented, seemingly infinite rows, of orange, yellow, pink, and red. An astonishing sight. An immense whole composed of hundreds and thousands[1] of one small thing: a tulip, tulip, tulip. Repeated to infinity.
Such was Claire Milbrath’s experience when first arriving to Keukenhof gardens in Lisse, Netherlands in 2023. A pilgrimage to 79 acres of land where about seven million tulip bulbs are planted each year. In these deliberately organized colour blocks of flowers, Milbrath recognized devotion, obsession, and an extreme beauty that simultaneously felt boundless and like it was contained within an artwork, recalling Maurice Denis’s statement “that a painting […] is essentially a flat surface covered with colours, put together in a certain order.”[2] It was a feeling of rapture. It was a spectacle to behold, to move toward, approaching closer and closer, until the long strips of colour became a single flower. A flower that…
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More Exhibitions at Pangée
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