NYAB Event - Patrick Gordon “The Subject Was Roses”

Patrick Gordon “The Subject Was Roses”

Fischbach Gallery

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In the 1968 film, “The Subject Was Roses”, Tim Cleary (Martin Sheen) returns from WW II, and is greeted by the open yet strained arms of his parents, John and Nettie (Patricia Neal and Jack Albertson). Considered sickly and weak, he has distinguished himself in the service and is ready to begin a new life. His parents, however, trapped in the bygone days of early, unresolved marital strife, they begin emotionally deteriorating through several dramatic scenes. The now mature Tim understands the family dynamic that has existed all thru his boyhood. By the simple act of bringing his mother roses on his father’s behalf, Tim realizes he may have destroyed his family, but is helpless to obtain resolution, which must come from both his parents.

Flowers, especially roses, are used to convey the many emotions we have for each other. Be it “I love you” or “I’m sorry,” sending roses is the perfect way to give someone a lift as well as send a message that you may be reluctant to say. How simple and wonderful to be able to say, “Thank you so much!” by simply picking up the phone and ordering a dozen yellow roses.

Floriography, the art of speaking with flowers originated in Persia where illiterate women of the Ottoman seraglios used flowers to communicate, as written language was forbidden. The tradition of using flowers as an expression then traveled to Europe and was used to impart feelings of High Society or Ton in Regency England. Though the exact meanings are lost to us for all the different flowers and colors, we still use the rose to get our emotions across to the recipient. “The single rose is, in essence, a symbol of completion, of consummate achievement and perfection”, says J. E. Cirlot in his ‘A Dictionary of Symbols’. Be it red, white or yellow, roses convey so much alone or in a bunch, or matched with other, complementary flowers.

Patrick Gordon renders his flowers larger than life taking great pleasure in their regal colors, velvety petals, sensual forms, and undercurrents of Eros. Rather than painting individual flowers, Gordon paints them as decorative arrangements far removed from their natural habitats