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The Wall of Shame is a wall of sculptures crafted entirely from trash. It is huge because of the endless amount of garbage humans leave behind to pollute the environment.
And to speed up the process, I developed a 'Flora technique' that instantly transforms any sculpture into a trash-art version.
https://www.metmuseum.org/art/collection/search/188954 https://www.metmuseum.org/art/collection/search/12019 https://www.metmuseum.org/art/collection/search/204758 https://www.metmuseum.org/art/collection/search/208816 https://www.metmuseum.org/art/collection/search/543882 https://www.metmuseum.org/art/collection/search/196439 https://www.metmuseum.org/art/collection/search/193613 https://www.metmuseum.org/art/collection/search/204812 https://www.metmuseum.org/art/collection/search/256403
Such an interesting direction.
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A painting that survived on the one wall still standing, after the house around it was destroyed. The storm it once depicted became real smoke, rising from the same horizon behind it — same place, same hills, same water, but the calm is gone.
I didn't age the painting forward or backward in time. I placed it somewhere that exists in parallel to where most of us are sitting right now — a place where this kind of stillness has been replaced by something else entirely.
Original piece: "Approaching Thunder Storm" by Martin Johnson Heade, 1859, oil on canvas — The Metropolitan Museum of Art (Open Access)
Link: The Inspiration Piece from the Met Museum
Built on FLORA, starting from a static image of the painting, then building the surrounding wall and environment through iterative generation and manual refinement, before animating the final camera move outward.
My submission for the FLORA × The Met Challenge.
This deserves more than just liking, this deserves to be featured! 🏆 Nailing that surreal narrative contrast behind the painting creates such a compelling submission.
I came across this 16th-century Benin brass head and the story behind it really caught my attention.
It was created to honor a deceased Oba and placed on an ancestral altar. In Benin tradition, the head was seen as the center of a person's character, knowledge, authority and leadership.
So this wasn't simply a sculpture of a king. It represented the connection between a ruler who had passed away and the new king who carried the dynasty forward.
I wanted to bring that story back to life by imagining the artifact in the royal setting it was created for.
Created in FLORA 🌼
@floraai
#FLORAMuseum
Sometimes the most fascinating part of an old artifact isn't how it looks, but what it meant to the people who made it.
i love this concept! don't forget to share the met reference link too!
I encountered The African Sentinel and was captivated by the fact that even the Met can't explain what he's guarding - their own catalogue calls him "an enigmatic inclusion that cannot be readily explained."
So I answered the question. Vedder didn't invent him; he encountered him, and painted what he assumed he was seeing. A peasant. A musket. A hill. He was wrong about all three.
He cannot be readily explained because he was never meant to be seen.
The whole piece is held in Vedder's own Macchiaioli hand - flat unblended patches, dry paint, visible canvas weave, his palette and his composition intact - so that only three things change: the object, the ground, and where he's looking.
Original artwork : The African Sentinel Elihu Vedder 1865
https://www.metmuseum.org/art/collection/search/13058
Answering the Met's own unsolved question instead of just illustrating the piece is a bold way to approach a brief like this. Did you look into other theories about the Sentinel before landing on your answer, or go with your first instinct?