Paintings in bloom: New Hampshire gallery "borrows" from the Boston Museum of Fine Arts an idea for a show that blends the worlds of floral paintings with floral arrangements

Art Business News, March, 2005 by Debbie Hagan

The heady aroma of floral arrangements will soon fill the space of the East Colony Fine Art Gallery, a two-year-old artists' cooperative, run and managed by 22 artists, in Manchester, NH, as preparations are now underway for the second annual "Petals 2 Paint" exhibition, April 28-30.

Like last year, "Petals 2 Paint" showcase special floral arrangements inspired by East Colony's artists, transforming the gallery into an indoor "garden" filled with delphinium, violas, wild flowers, snapdragons, tulips, lilies, irises and more. "A feast for the senses" is the way Sally Gordon Shea, pastel artist, and secretary to East Colony's board of directors, describes it.

Last year's show brought out approximately 500 people--nearly all first-time visitors--and was so successful that a large number of floral designers after the event asked to be included in this year's version. The requests were so numerous that Shea had to turn away some designers.

This year's version will include one important change, according to Shea: All floral arrangements will be on pedestals. Shea believes that this will create a neater, more professional look, while bringing uniformity to the display.

"What surprised me the most was that this was so much fun," says Shea about organizing "Petals 2 Paint." "My goal is to have this be on your spring calendar--something that you look forward to seeing each year." And, judging by Shea's energy and organizational skills, no doubt she will achieve that and more.

Direct from Boston

The idea behind "Petals 2 Paint" is not original. Shea admits borrowing it from Boston's Museum of Fine Arts, which has been hosting "Art in Bloom" for 27 years. It's a show that's emulated by museums around the world. Shea presented the idea to the board of directors at East Colony, a two-year-old artists' cooperative, run and managed by 22 artists. They loved the idea, but there was one question: Could a small gallery, such as theirs, pull off such a big event?

Shea thought so. However, she faced one obstacle: She didn't know anyone who belonged to a garden club. Not one.

Two things worked in Shea's favor. First, she understood library research (having worked in a library for many years). Second, she liked to take charge and plan ahead. Though the exhibit wasn't to open until April 2004, Shea began her research in June 2003.

As expected, Shea found a list of garden clubs and their presidents in the public library. A few rounds of calls led to more referrals, which eventually put her in touch with Alice Jorda, president of the New Hampshire Federation of Garden Clubs (NHFGC). Because this organization coordinates activities of 25 garden dubs, the NHFGC linked Shea to major floral designers throughout southern New Hampshire. By October, Shea had commitments from 14 garden clubs. Twenty designers (including a few design teams) agreed to participate.

Shea could have found enough floral designers within a single club. Some have as many as 200 members. "But the objective was to get as many people as possible through our doors," she says. That meant reaching out to many clubs.

Her plan for the show was relatively simple and straightforward. Floral designers would visit the gallery in January and pick a painting, a piece of pottery or work of stained glass--whatever inspired them. Then they'd interpret the art through cut flowers--nothing silk or artificial.

Shea had one more rule: Designers would bear all the costs of the flowers, materials, and transportation to and from the gallery. Most people might think this would be a deal breaker--not so. "This is an expensive hobby," explains Shea, who likens floral designing to snow skiing or model railroading. It's an art form with a competitive edge and committed followers. Floral designers compete in major shows "aiming to win the pot" just like in a golf tournament, Shea says. "Sure, the flowers and the art don't last, but neither does the experience in playing an excellent round of golf. Whether the golfer wins the tournament is not the reason the golfer plays. It's the competition, experience and enjoyment of playing. The same is true of floral designers."

Preparing for "Petals 2 Paint's" opening, Shea formed committees of volunteers. The publicity committee mailed invitations to members of all of the garden clubs--700 in all. The gallery advertised in the Hippo (a cultural arts paper with a circulation of 28,000), sent out press releases, and distributed fliers throughout Manchester and nearby communities.

For the show, Shea purchased and painted 20 pedestals, which enabled her to display each arrangement like a sculpture. She wanted to present the arrangements as art objects. Also, this enabled viewers to see them at eye level.

Opening Night

On Thursday, April 29, 2004, "Petals 2 Paint" opened. Shea timed it to coincide with Manchester's Trolley Night--trolley buses shuttled art lovers between the Currier Museum and about a dozen galleries. Shea expected around 100 trolley riders.