Rebecca Louise Law, an installation artist based in East London, is best known for her large-scale sculptural works. Law incorporates thousands of fresh or dry flowers creating suspended floral installations. She has worked with brands and designers in the past including Hermès, Max Mara, Jimmy Choo, Sophia Webster and Matthew Williamson, for a project at the Blakes hotel. Commissioned works also include The Flower Garden Displayed at the Garden Museum in London, The Grecian Garden at the Onassis Cultural Centre in Athens and Flowers 2015: Outside In, created for Times Square. Her work has been exhibited at the Victoria & Albert Museum, the Royal Opera House, Royal Academy of Arts, Burlington Arcade and Westminster Abbey. WWD sat down with the floral artist to talk inspiration and floral installations.
WWD: What inspires you?
Rebecca Louise Law: I’m inspired by nature and the beauty that the earth gives us. I love to observe natural patterns and colossal repetition. Colors and forms created within landscapes always amaze me.
WWD: Can you walk us through your creative process?
R.L.L.: I meet the patron and usually view the space proposed. My work is site-specific, but I always like to research the history, culture and human interaction within each space. Many sketches, meetings and schedules are combined and finessed. An installation can take up to one month to install with a large team. I love to combine my team with local communities. The ownership of the work passes from myself to the many hands that help me. I love to share the work with every person involved.
WWD: Do you have a memorable installation?
R.L.L.: I recently created an artwork in Melbourne, Australia called “The Canopy.” It was the first installation that I have sculpted with an intention to last indefinitely. The opportunity to sculpt with more than 100,000 flowers was incredible. I’m so proud of all we achieved, it was epic.
WWD: We see that flowers are your sculptural material, have you ever wanted to experiment with another medium?
R.L.L.: I’ve always loved wood, shells and feathers alongside flowers. Natural materials fascinate me, the more I find the more I want to work with them.
WWD: What has been your most challenging experience when creating installations?
R.L.L.: The pressure of time has always made the work challenging. If I make an installation fresh, it’s stressful to get every flower wired and hung before they start decaying. The installation I created in Athens, The Grecian Garden, was a marathon against heat and decay, although we achieved a wonderful artwork that remained in situ for a year.
WWD: Can you tell us about your upcoming projects and plans?
R.L.L.: In the next few months, I am creating installations in Poland, Milan, Miami and Newark. I have a solo exhibition on show in the U.K. until October and exhibitions in Denmark and California in 2017. I constantly strive to create artworks that allow the viewer to interact with nature. Each artwork is a step closer to achieving an experience of the natural world without the restraints of time.