In BOUQUET, Ferguson continues to refine her reductive aesthetic with each piece captivating the viewer through harmonious, nuanced hues and subtle transitions discovered in various flora. As a large-scale body of work, Ferguson offers a collective arrangement; an encompassing space to ponder not only on the objective beauty and symbolic nature of the flower, but also on a grander scale, the cycle of life. Of this body of work, Ferguson writes, “Life, like the flower, is delicate and ephemeral, but we can and should cherish and celebrate all its beauty and splendor.”

Ferguson’s process is dichotomous in nature; an exploration of color contrasted with a meticulously controlled application of geometry. These two influential components are harmonious, yet serve as a psychological opposite. While the exploration of color systems and theories invite a sense of freedom, the utilization of geometric formations invites a sense of control. The contemplative sense of navigation inward is the result of rigorous observation from within and of Ferguson’s surrounding environment. “By sculpting chaos into a codified harmony, the focus transitions toward a central beacon of light, with the aim to draw the viewer into a deeper, more revelatory, and ultimately, healed space,” Ferguson writes.

Sarah Ferguson (b. 1973 Boulder, Colorado) received her BFA from St. Edward’s University in Austin, Texas. Her work is included in private and corporate collections, both in the United States and abroad.