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You can check the process and how I made it below.
Made with @FLORA | for Met Museum on @Contra HQ
Worflow - Canvas (Flora.ai)
Baboonz® — Art Toy & Collectible System.
Baboonz is a contemporary art toy inspired by the ancient Egyptian connection between the baboon and Thoth, the god of...
Excellent choice of colors.
I'm glad you liked the palette, thank you!
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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! 🌸
I went into The Met's open access archive looking for a textile. I found the pattern I wanted on a suit of armour instead.
Greenwich, 1586. George Clifford was Queen's Champion to Elizabeth I, and his garniture is etched and gilded with her cipher, two E's back to back, repeated across every plate from helmet to sabaton without a break. Not a badge on the chest. A repeat running over an entire body, worn by royal licence, three hundred years before any house put its initials on a bag.
So I took it off the steel and put it back on a body.
RUNNING CIPHER is one woven matrix and eight streetwear pieces cut from it, shot on Yorkshire moorland in winter with the sun never higher than eighteen degrees above the horizon. My first matrix was wrong: I kept the cipher at armour scale and it collapsed into generic damask. Enlarging it four times was what made it read as a garment print instead of wallpaper. That failed version is still sitting on the canvas next to the one that worked.
The casting carries the argument. Clifford's only child, Anne, was written out of the inheritance when her father left the northern estates to his brother. She spent thirty-eight years in court, won in 1643, and rebuilt the castles herself. The mark he borrowed from a queen is now worn by the women who took the land back.
Everything is on the canvas: the Met plates that fed the matrix, every rejected generation, the casting tests, the frames that did not make it.
Original work: https://www.metmuseum.org/art/collection/search/23939
Armor Garniture of George Clifford, Third Earl of Cumberland. Jacob Halder, royal
workshops at Greenwich, 1586. The Metropolitan Museum of Art, 32.130.6a–y. Open Access.
@floraai #FLORAMuseum
this is such a unique concept!
Shankh (Ritual Conch)
Title: The Last Call – 2141
I wanted to reinterpret this ornate ritual conch shell trumpet as an object that no longer needs human breath.
In its original context, the shankh was blown during sacred ceremonies to cut through illusion and announce the presence of the divine. I imagined it in 2141 as something that activates on its own. Faint luminous veins now run through the gilt surface, and the shell emits a low inner light when it senses falsehood in the world around it.
Being part of this challenge with the FLORA and Contra community made me think differently about sacred objects not just as artifacts from the past, but as things that could still have a role in the future.
Original artwork The Met: https://www.metmuseum.org/art/collection/search/503672
FLORA project: https://app.flora.ai/chat/ns74f4npk235a3bn9agv33kh618dmx8k
These look great! You can also get clean versions of your images (without the Flora watermark) by claiming the free credits as outlined in the guidelines. Feel free to re-upload your entry using the clean versions if you'd like!
