TWIGS IN A VASE

WHEN INTERIORS AND NATURE COMBINE
Phallic, sculptural wax flowers are combined with rigid green grass fronds and accents of white whispy foliage resembling the electric lightning bolts as summoned by Zeus in a moment of emphatic fury. These are encased in glass conical vessels, which are held test tube like by white wooden stands evocative of human spermatozoa. The combination of the new growth twigs and the semen-esque vases are clearly a statement about the timeless beauty of the miracle of childbirth. (Emma Jay, co-editor of Twigs In A Vase)

Phallic, sculptural wax flowers are combined with rigid green grass fronds and accents of white whispy foliage resembling the electric lightning bolts as summoned by Zeus in a moment of emphatic fury. These are encased in glass conical vessels, which are held test tube like by white wooden stands evocative of human spermatozoa. The combination of the new growth twigs and the semen-esque vases are clearly a statement about the timeless beauty of the miracle of childbirth.

(Emma Jay, co-editor of Twigs In A Vase)

A practical, everyday kilner jar is utilised in a startlingly irreverent new manner here: magnanimously stuffed with wire-wool resembling silver tinselette strands, and generously overflowing with vibrant, flame-hued physallis pods that suggest imperial or Oriental court splendour. These are offset by Zubrowka Bison Grass Vodka-esque blades of grass, which sharply contrast with the crimson “Nature’s Lanterns”. The cool, stark, Brutalist grey of the ceramic tiles behind only serves to highlight further the cheeky Chinese communist feeling suggested by this classic colour scheme. (Emma Jay, co-editor of Twigs In A Vase. Photo courtesy of @food_writer)

A practical, everyday kilner jar is utilised in a startlingly irreverent new manner here: magnanimously stuffed with wire-wool resembling silver tinselette strands, and generously overflowing with vibrant, flame-hued physallis pods that suggest imperial or Oriental court splendour. These are offset by Zubrowka Bison Grass Vodka-esque blades of grass, which sharply contrast with the crimson “Nature’s Lanterns”. The cool, stark, Brutalist grey of the ceramic tiles behind only serves to highlight further the cheeky Chinese communist feeling suggested by this classic colour scheme.

(Emma Jay, co-editor of Twigs In A Vase. Photo courtesy of @food_writer)

The instinctive act of humankind was to stand and listen, and learn how the trees on the right and the trees on the left wailed or chaunted to each other in the regular antiphonies of a cathedral choir; how hedges and other shapes to leeward then caught the note, lowering it to the tenderest sob; and how the hurrying gust then plunged into the south, to be heard no more.” Thomas Hardy, “Far From The Madding Crowd” (1874) A literary vision of twig and vase pieces can be seen in the window of this chic north London estate agents.  The influence of Hardy’s “Far From The Madding Crowd” is evident in the carefully selected objects in this installation.  The dominating ruddy Quercus twigs sitting erectly in a sturdy white vase represent the virtuous, stoical Gabriel Oak, a nod that is punctuated by a copy of “Angel” magazine resting in the far left corner.  The fragile glass vasette containing Lilliputian twiglets and irregular-sized sprigs of viridian-green umbrage are crudely evocative of Hardy’s heroine Bathsheba Everdene.    Finally, the looming white wooden post in the background, fixed squarely to the laminate faux-wood flooring, serves as a portentous representation of the novel’s stolid antagonist William Boldwood.  A timeless tale of man versus nature, in twig-form. (Sian Allen, co-editor of Twigs In A Vase)

The instinctive act of humankind was to stand and listen, and learn how the trees on the right and the trees on the left wailed or chaunted to each other in the regular antiphonies of a cathedral choir; how hedges and other shapes to leeward then caught the note, lowering it to the tenderest sob; and how the hurrying gust then plunged into the south, to be heard no more.”

Thomas Hardy, “Far From The Madding Crowd” (1874)

A literary vision of twig and vase pieces can be seen in the window of this chic north London estate agents.  The influence of Hardy’s “Far From The Madding Crowd” is evident in the carefully selected objects in this installation. 

The dominating ruddy Quercus twigs sitting erectly in a sturdy white vase represent the virtuous, stoical Gabriel Oak, a nod that is punctuated by a copy of “Angel” magazine resting in the far left corner. 

The fragile glass vasette containing Lilliputian twiglets and irregular-sized sprigs of viridian-green umbrage are crudely evocative of Hardy’s heroine Bathsheba Everdene.   

Finally, the looming white wooden post in the background, fixed squarely to the laminate faux-wood flooring, serves as a portentous representation of the novel’s stolid antagonist William Boldwood. 

A timeless tale of man versus nature, in twig-form. (Sian Allen, co-editor of Twigs In A Vase)

A classic Victorian egg-timer shaped vase is the minimalistic foil for these blonde twisted twigs, reminiscent of the flaxen sea-styled hair of a mythological mermaid. These Siren-esque twig tendrils are haunted by the constricting mesh of spiky fairy lights that entwine them, eerily echoing the fate that surely tragically befell many a maiden of the ocean at the hands of a careless fisherman and his wayward nets. A prime position in the corner window of a sub-standard sandwich shop propels this installation into prominent view, and no doubt causes many a passerby or sandwich purchaser to thoughtfully consider the tales within Homer’s Odyssey as they consume their tepid latte. (Emma Jay, co-editor of Twigs In A Vase).

A classic Victorian egg-timer shaped vase is the minimalistic foil for these blonde twisted twigs, reminiscent of the flaxen sea-styled hair of a mythological mermaid. These Siren-esque twig tendrils are haunted by the constricting mesh of spiky fairy lights that entwine them, eerily echoing the fate that surely tragically befell many a maiden of the ocean at the hands of a careless fisherman and his wayward nets. A prime position in the corner window of a sub-standard sandwich shop propels this installation into prominent view, and no doubt causes many a passerby or sandwich purchaser to thoughtfully consider the tales within Homer’s Odyssey as they consume their tepid latte. (Emma Jay, co-editor of Twigs In A Vase).

A mouse-brown, snakeskin-effect ceramic teardrop-shaped vase is casually brought to life by the nonchalant addition of three sticks of raw licorice, eight blades of blackened grass reminiscent of a charred and fire ravaged African tundra, and two realistic English country roses fashioned from the carefully preserved primo tobacco leaves of an expert Cuban cigar-roller from his atelier in Havana. (Emma Jay, co-editor of Twigs In A Vase. Photo courtesy of Max Tundra, @MaxTundra)

A mouse-brown, snakeskin-effect ceramic teardrop-shaped vase is casually brought to life by the nonchalant addition of three sticks of raw licorice, eight blades of blackened grass reminiscent of a charred and fire ravaged African tundra, and two realistic English country roses fashioned from the carefully preserved primo tobacco leaves of an expert Cuban cigar-roller from his atelier in Havana.

(Emma Jay, co-editor of Twigs In A Vase. Photo courtesy of Max Tundra, @MaxTundra)

A dynamic duo of highly decorative twigs in vases, consisting of one amethyst-hued wire approximation of a vessel containing robust, spiral-ended, metallic purple sprigs, and one LED-lit, hourglass-shaped vase with gently undulating metallic-finished twigs. A paint-scuffed metal window frame is of course the natural context-setting finish to this delightful vista. (Emma Jay, photo courtesy of Vivienne Berryman)

A dynamic duo of highly decorative twigs in vases, consisting of one amethyst-hued wire approximation of a vessel containing robust, spiral-ended, metallic purple sprigs, and one LED-lit, hourglass-shaped vase with gently undulating metallic-finished twigs. A paint-scuffed metal window frame is of course the natural context-setting finish to this delightful vista. (Emma Jay, photo courtesy of Vivienne Berryman)

Inexorable hazel twigs starburst determinedly from the mouth of an exemplary crimson vessel, cheekily upstaged by a toilet roll holder in tubular steel (Emma Jay, co-editor or Twigs In A Vase. Photo courtesy of Rob Hyde)

Inexorable hazel twigs starburst determinedly from the mouth of an exemplary crimson vessel, cheekily upstaged by a toilet roll holder in tubular steel (Emma Jay, co-editor or Twigs In A Vase. Photo courtesy of Rob Hyde)

A stately Axminster carpet is the scene-setting base for this trio of magnificent twig installations. A small yet grandiose tree, created entirely from wire and twinkling fairy lights, is grounded in a silver sequined carafe which has been bedecked with two gleaming ethnic maracas. Flanking this vision on either side are two matching glass vases from which ascend rigidly striking red twigs in tightly compacted bushels. These are interspersed with tropical foliage, fluffy balls on sticks, exotic parrot feathers in varying shades of magenta, and are affixed stoutly within their receptacles with the use of Bonio dog biscuit-shaped stones. A tangle of electrical cables completes this visual carnival with minimum effort. (Emma Jay, Twigs In A Vase co-editor, photo courtesy of @LizzieBonito)

A stately Axminster carpet is the scene-setting base for this trio of magnificent twig installations. A small yet grandiose tree, created entirely from wire and twinkling fairy lights, is grounded in a silver sequined carafe which has been bedecked with two gleaming ethnic maracas. Flanking this vision on either side are two matching glass vases from which ascend rigidly striking red twigs in tightly compacted bushels. These are interspersed with tropical foliage, fluffy balls on sticks, exotic parrot feathers in varying shades of magenta, and are affixed stoutly within their receptacles with the use of Bonio dog biscuit-shaped stones. A tangle of electrical cables completes this visual carnival with minimum effort. (Emma Jay, Twigs In A Vase co-editor, photo courtesy of @LizzieBonito)

Classic witches broomstick twigs artlessly jut from a squat obsidian repository which has been “jazzed up” with an over-sized Schiaparelli-pink nylon mesh bow. Simplicity reigns. (Emma Jay, Twigs In A Vase co-editor)

Classic witches broomstick twigs artlessly jut from a squat obsidian repository which has been “jazzed up” with an over-sized Schiaparelli-pink nylon mesh bow. Simplicity reigns. (Emma Jay, Twigs In A Vase co-editor)

‘The vivid tulips eat my oxygen’, Sylvia Plath, ‘Tulips’, 1961 A trio of amaranthine sateen tulips create a breath-taking focal point in this decorative interior-design chef-d’oeuvre. Tendrillar-style faux twigs, bound in waxen cloth, writhe distressfully out of a matt, argentite vase like the branches of the fig tree Plath saw as a metaphor for her life in ‘The Bell Jar’.  A backdrop of shimmery ‘Assia’ flock wallpaper (14.99 a roll, Homebase), is the final, tragic nod to Plath’s work. Pure poetry. (Sian Allen, co-editor of Twigs In A Vase. Photographer: Ryan Mair @ryanmair)

‘The vivid tulips eat my oxygen’, Sylvia Plath, ‘Tulips’, 1961

A trio of amaranthine sateen tulips create a breath-taking focal point in this decorative interior-design chef-d’oeuvre. Tendrillar-style faux twigs, bound in waxen cloth, writhe distressfully out of a matt, argentite vase like the branches of the fig tree Plath saw as a metaphor for her life in ‘The Bell Jar’.  A backdrop of shimmery ‘Assia’ flock wallpaper (14.99 a roll, Homebase), is the final, tragic nod to Plath’s work. Pure poetry.

(Sian Allen, co-editor of Twigs In A Vase. Photographer: Ryan Mair @ryanmair)