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My second entry, but not as a submission,
I picked Morgan Casket https://www.metmuseum.org/art/collection/search/446990
And reimagining it into a car design displayed in either a car show or Met Gala.
"I can't go further with this because I lost with CREDITS"
BUT
I wanted to incorporate the Morgon Casket into the art or design it completely inspired with it.
Which one sounds a fit to you?
If anyone liked it, you can take this further; I would love to see how you came up.
#contra #flora
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📌 Watermark on your FLORA exports? Here's the fix.
The FLORA watermark comes from the free plan. Everyone in this challenge gets $50 in free FLORA usage, and claiming it upgrades your account so your exports come out clean.
For details on how to redeem, check the challenge guidelines or the confirmation email Contra sent when you joined the challenge for instructions (check spam if you don't see it). Already submitted something watermarked? Claim the credits, re-export, and update your entry.
Happy curating! 🌸
✨ For this challenge, I reimagined an Arts and Crafts cabinet from The Metropolitan Museum of Art’s Open Access collection by bringing the painted figures on its surface to life.
🎨 What interested me most was the relationship between the painting and the cabinet as a physical object. Instead of simply animating the figures, I wanted their actions to affect the cabinet itself, allowing the painted world and the functional object to briefly interact before returning to its original state.
🌿 I explored and developed the concept in FLORA, creating multiple variations, testing timing, extending scenes, and building the final sequence through an iterative visual process.
🎙️ The project walkthrough voiceover was created with ElevenLabs, and the original music was generated with Suno.
🔗 Links
The Met Artwork: https://www.metmuseum.org/art/collection/search/195456
#FLORAMuseum
👍 😂 It looks funny and very professional implementation
THE WOMEN LEAVE. THE SEALS STAY.
只是朱顏改
After Zhou Wenju, In the Palace. Song dynasty copy, before 1140. The Met, Open Access.
Original: https://www.metmuseum.org/art/collection/search/40004
Canvas: https://app.flora.ai/projects/ns72hzhvj0sysrbq51ew51cgy18dnpjh
Zhou Wenju was court painter to Li Yu, the last emperor of Southern Tang. These are the women of his palace. When the Song armies took his kingdom, Li Yu was carried into captivity, and there he wrote the ci poem 虞美人 for the palace he would never see again: 雕欄玉砌應猶在，只是朱顏改. The carved railings and jade steps must still be there. Only the faces have changed.
That line is the whole film. I let the women come to life in their own ink lines and walk out of the painting, one by one, until only the empty silk remains. Everything he named as lasting stays: the weave, the stains, and the red seals of the men who owned the scroll for a thousand years. Only the people are gone. His grief as a fallen emperor was that the walls outlive the people inside them, and the painting now does exactly that. One guqin note falls for each woman who leaves.
The closing couplet is not a font. Every character is 集字, collected one by one from brush originals, the way the Tang monk Huairen built the 聖教序 from Wang Xizhi's own hand. Nine of the twelve come from stone-stele collections of Wang Xizhi (集王聖教序, 興福寺半截碑, 普覺國師碑). The three he never wrote, 雕 欄 砌, are borrowed from Zhao Mengfu and Wen Zhengming, who both spent their lives learning his line.
Made in FLORA. #floramuseumchallenge
— Lois Liao / Oni On
wow how can i learn that!!
