In the third piece of his DAO Content Takeover reimagining vanitas for the modern age, Richard Butchins shines a light on his still life series ‘Floracide’ which uses found objects for a metaphorical exploration of disability.

Please note: the behind-the-scenes film has no dialogue. An audio version of Butchins’ description of the work is available below the film, as are images with alt text of the completed works.

I work mostly in the medium of still life using 16^th-century Baroque painting, particularly the Dutch school as my inspiration. This film is about the process of making and creating still life images. I use found objects extensively in these creations. In one it’s an artificial limb, a hand, from the 1960’s along with the attachments that plug into the end of the prosthesis. In the other it is a dead magpie that a friend found nailed to the door of her shop. Why, we do not know.

I call this still life work Floracide, it’s reflective and personal. These pictures ruminate over the imperfected and impermanent. Nestling within these final flowerings of fruit and fauna in abundant colour are symbolic reflections upon decay, miniature fairy tales and biographies in subversive diorama. The sense of scale bringing an emotional immediacy to the fore of this metaphorical examination of disability.

These photographs present a contemporary twist on the tradition of Baroque still life paintings, particularly those in the vanitas genre. The images blend modern elements with classical compositional techniques, creating a thought-provoking commentary on contemporary life and values.

Similarities to Baroque Still Life:

1. Chiaroscuro lighting: Both images employ dramatic lighting reminiscent of Baroque paintings, with strong contrasts between light and shadow. This technique adds depth and theatricality to the compositions.
2. Symbolic objects: Like vanitas paintings, these images are rich in symbolism. Traditional vanitas elements like candles (representing the brevity of life) are present, alongside modern objects that carry their own symbolic weight.
3. Compositional structure: The careful arrangement of objects, with a central focal point surrounded by supporting elements, mirrors the compositional strategies of Baroque still lifes.
4. Attention to texture and detail: The meticulous rendering of various surfaces and materials echoes the Baroque fascination with realistic depiction.

Modern Components and Ironic Play:

1. Contemporary objects: The use of modern tools, electronic components, and toys brings these compositions firmly into the present day, creating an intriguing dialogue between past and present.
2. Subversion of traditional symbolism: While Baroque vanitas paintings often included skulls or rotting fruit to symbolize mortality, these images use dismembered dolls and circuit boards to comment on modern disposability and technological obsolescence.
3. Mechanical “creatures”: The anthropomorphic figures created from tools in Image 2 add a surreal, almost Dali-esque element to the composition, challenging the viewer’s expectations of still life subjects.
4. Juxtaposition of organic and inorganic: The contrast between delicate flowers and harsh metal objects in Image 2 creates a tension that speaks to modern environmental concerns.
5. Commentary on craftsmanship: The focus on hand tools in both images could be read as a reflection on the value of manual skills in an increasingly digital world.
6. Narrative elements: Unlike traditional still lifes, these images hint at stories or processes, particularly in Image 2 with its suggestion of creation or destruction in progress.

The irony in these images lies in their use of traditional artistic techniques to comment on thoroughly modern concerns. They invite viewers to consider the enduring human preoccupations with mortality, value, and meaning, while simultaneously highlighting how the expression of these concerns has evolved in our technological age.

By reimagining the vanitas genre with contemporary objects and surreal elements, these images create a bridge between historical art traditions and modern artistic expression, encouraging viewers to reflect on the continuities and changes in human experience across centuries.

The music is an original composition by Patrick Knill combined with “The Cold Song” by Purcell, aka “What Power Art Thou” from semi-opera King Arthur, Z. 628, Act III, from 1691. Libretto by John Dryden. Words (not present in this version).

Video camera by Scot Griffiths & Richard Butchins