‘Evergreen’ follows the arduous routines adopted in the quest for eternal youth and ideal beauty. Beginning with fun exercise, make-up tips and fancy dress historical references, the sequence of regimes disturbingly escalates into complex, improbable skin treatments and torture-like therapy inflicted by beauticians.
Throughout the video the screen is split into two separate frames. The black and white square highlights the vintage and appropriated
nature of the footages captured from the web. The square in vivid color records plants and flowers, shot by the artist over a one-year
period and around different locations; these clips are loosely arranged following the passing of the seasons.
The audio, no less evocative or essential than it’s images, is provided by the random background noise of the outdoor clips: children playing, airplane engines, blowing wind and barking dogs.
As the weather increasingly becomes more unsettled in the color frame of the screen, we witness the unfolding of the dramatic death of British suffragette Emily Davison as recorded in the original newsreels of the Epson racecourse. A haunting sense of loss and hope pervades the end of the story.
Originally conceived as complementary visual material for the artist’s botanical series of cut outs ‘You Can Learn A Lot of Things From the Flowers’, the video increasingly followed its own narrative thus becoming a self-supporting short movie.The overall style plays homage to Derek Jarman’s shaky hand held Super-8 aesthetics and particularly to his late tribute to Dungeness Prospect Cottage in ‘The Garden’. The documentary recordings of plants’ life become a vehicle for a wider social reflection.
‘Evergreen’ is filmed on iPhone using Instagram’s color-enhancing filters.