Hero of a C-type print encased in a linen archive box by Anna Ridler

Price Per Stem

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  • Price per stem artwork by Anna Ridler
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Hero of a C-type print encased in a linen archive box by Anna Ridler

Anna Ridler

Price Per Stem

Limited edition

Series of 25

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Anna Ridler and the price of peonies.

Peonies are romantic and ephemeral. They are also a lucrative commodity. This paradox prompted Anna Ridler to excavate the social, industrial, economic and environmental factors hidden behind the flowers we take for granted in florists and supermarkets.

Price Per Stem is a series of 25 unique artworks. Each one comprises a paired physical and digital element.

The physical element entails 56 photographs of real peonies, taken by Anna in her studio. Once printed, each peony is annotated with its market price.

These photographs form the basis of the corresponding digital element – a single imagined peony in video form, generated from the 56 real peonies. To create her digital flowers, Anna created an intricate model based on data and events that influence the price of peonies, from fluctuations in weather to holidays like Valentine’s and Mother’s Day associated with surges in demand.

To complete the digital element, Anna traced choice moments from each peony and layered them over fluctuating prices. In this final step, the peonies are reconnected with the physical world.

Anna Ridler taking a photo of a flower in her studio
Anna Ridler1 collaborationAnna Ridler spins the sublime out of cold, hard data. One of her early collaborative works, Alice and Bob (2017) is composed of two screens that display love letters between an imaginary couple. The declarations are so emotive it is hard to believe that the generative algorithm behind them is trained solely on sterile, scientific texts. “Is this all we should expect? We hoped for more,” one machine asks the other. Anna uses artificial intelligence to better understand human desire and how it is projected onto the world in the form of what we value. In subversive works like TTL (2023), a series of NFTs programmed to self-destruct if traded within the next few centuries, Anna challenges the idea of what makes something valuable in the first place. 

Abstract concepts like time, value and desire find grounding in the earthly objects Anna chooses to express them with like coral, flowers and sea water. Anna likens her methodology to that of land artists on account of the “very slow involved way of building a system, and then allowing something that you can predict but never control to act on that system.” For example, in Mosaic Virus (2018) and Mosaic Virus (2019) she programmed an image of a tulip to mutate based on the fluctuating value of Bitcoin. The output is an enchanting portrait of our collective decisions. Anna shows how everything we produce, from oil paintings to algorithms, inevitably contains fragments of our humanity.

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