The desire to playfully rub the fantastical up against the everyday drives Flora Bradwell’s practice. Through appropriating snippets of history, assimilating visual traditions and collecting fragments of narrative Flora has populated an imagined world. This magpie approach to research is mirrored Flora's multi-faceted methods of communicating with her audience: through painting, installation, performance and film.
Within Flora’s fictional realm the notions of façade and performance play a central role. In her paintings brilliantly coloured and patterned players distort themselves for their audience, showing off their luxurious paint and vibrant palette. Beneath the gaudy exterior peer sharp eyes that appear to belong somewhere else. This dichotomy between the unnervingly vibrant world of the painting and the realism of the character’s eyes creates a disturbing tension in each piece.
Bella Lordwarf was created as a liminal figure who straddled both the imaginary and the everyday, acting as translator for Flora's playful fictions. However Bella has now transcended that role becoming historian, priestess, goddess and pop diva, among other things. Bella is exploring her own identity through creating her personal mythology. The Penultimate Supper, and Triangle form part of the series, story and symbolism of 'The Cult of Bella'.