British contemporary artist Rebecca Louise Law has captured Roseur’s attention with her melancholy site specific floral experiments. Law exhibited for the first time in the US at the Chandran Gallery in San Francisco. Law’s work explores the life-cycle of flora via large scale installations – a poignant commentary on the relationship between man and nature. As her bio states: “She is passionate about natural change and preservation – allowing her work to evolve as nature takes its course and offering an alternative concept of beauty.”



Our perception of Law is one of an artist who wanders boundary less between commercial and private work. Executing her vision with complete freedom – a brilliant triumph for any creator in a time of mass commercialization. Law has received commissions from institutions such as The Royal Academy and Victoria & Albert Museum to brands like Hermès; Max Mara; Jimmy Choo. Law’s work crosses the spectrum. In addition, her work has been broadcast in Times Square, hung in serious art venues such as Art Basel, and shown in a shopping mall in Melbourne, Australia.


Hydrangea, Gypsophilia
Materials: Hydrangea, Gypsophila, Peony, Craspedia, Rose, Celastrus, Gerbera, Larkspur, Juniper, Dahlia, Carnation, Brunia, mixed shells
Year: 2015
Dimensions: L:35 H:80 W:35
Price: £3600
Insects ethically sourced.
Photograph: Rebecca Louise Law


Law’s background in floristry adds to the curiosity of her work (she was a floral designer at McQueens for 4 years and 6th generation gardner by birth) and amazingly her relative closeness with the subject doesn’t affect her ability to appreciate its fragility. In an interview with the Ny Times Law mentions:

“About 90 percent of Law’s work is large-scale work for public consumption, but her gallery sells limited, color-photograph editions at about £1,500 ($1,950) for a print. She also accepts private commissions, installing pieces in people’s homes for between £3,000 ($3,900) and £8,000 ($10,400). No one has yet complained when the flower sculpture that cost thousands begins to die, seeming to accept Law’s contention that the fading is a way of showing flowers not as “purely ephemeral objects but as a beautiful sculptural material for you to enjoy for a lifetime.” According to Law, visitors to the Chandran have certainly enjoyed it: “People were walking through and getting tangled up in the flowers, and going, ‘Aaahh!’”


Balthasar Van der Ast
Materials: Fine Art Archival Pigment Print on Hahnemuhle stock
Mixed flowers, shells, model figures, insects, butterflies, props.
Year: 2014
Photograph: Rebecca Louise Law


Photograph: Rebecca Louise Law


Follow Rebecca Louise Law Studio: