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

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

Like last year, "Petals 2 Paint" showcase special floral arrangements inspired by dint of 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 present to view brought out approximately 500 people--nearly all first-time visitors--and was in like manner successful that a large number of floral designers after the incident asked to be included in this year's version. The suits were so numerous that Shea had to turn round away some designers.

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

"What surprised me the greatest in quantity was that this was in like manner much fun," says Shea about organizing "Petals 2 Paint." "My goal is to have this be upon your spring calendar--something that you gaze forward to seeing each year." And, judging by dint of 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 exhibit that's emulated by museums around the world. Shea at handed the idea to the board of directors at East Colony a two-year-old artists' cooperative, race and managed by 22 artists. They lov the idea, on the other hand there was one question: Could a small gallery, like as theirs, pull off of that kind a big event?

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

sum of two units things worked in Shea's favor. First, she understood library research (having worked in a library for many years). next to the first she liked to take charge and plan ahead. allowing the exhibit wasn't to make open until April 2004, Shea began her research in June 2003

As wait fored Shea found a list of garden bludgeons and their presidents in the public library. A not many rounds of calls led to more referrals, which eventually set her in touch with Alice Jorda, president of the fresh Hampshire Federation of Garden cudgels (NHFGC). Because this organization coordinates activities of 25 garden designates the NHFGC linked Shea to major floral designers from one extremity to the other of southern New Hampshire. By October, Shea had commitments from 14 garden bludgeons Twenty designers (including a not many design teams) agreed to participate.

Shea could have lay the foundation of enough floral designers within a single bludgeon Some have as many as 200 members. "But the objective was to achieve as many people as possible from one side our doors," she says. That meant reaching without to many clubs.

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

Shea had individual more rule: Designers would bear all the take away froms of the flowers, materials, and transportation to and from the gallery. greatest in quantity people might think this would be a deal breaker--not thus "This is an expensive hobby" explains Shea, who likens floral designing to snow skiing or pattern railroading. It's an art form with a competitive cutting side and committed followers. Floral designers cope 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, on the other hand neither does the experience in playing an extremely good round of golf. Whether the golfer wins the tournament is not the reason the golfer plays. It's the competition, experience and pleasure of playing. The same is veritable of floral designers."

Preparing for "Petals 2 Paint's" opening, Shea formed committees of tenders 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 28000) sent without press releases, and distributed fliers over Manchester and nearby communities.

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

Opening Night

upon Thursday, April 29, 2004, "Petals 2 Paint" render free of accessed Shea timed it to coincide with Manchester's Trolley Night--trolley buses shuttl art lover between the Currier Museum and about a dozen galleries. Shea awaited around 100 trolley riders.