For Henzel Studio, Nan Goldin re-appropriated a photograph of dried roses, applying variable pile heights to the petals.
"The image is a photo I took from an old heart shaped wreath of roses long since dried in my bedroom in Paris. Given to me by a friend I love dearly.The flowers aren't dead to me; just transformed."
Nan Goldin has developed an iconic style of making photography that has influenced multiple facets of popular culture and the art establishment. Rather than objectifying her subjects, Goldin goes beyond the conventions of photography as representations of reality, demonstrating a pure determination to capture the moment and to approach subjects with a kind of sensitivity largely absent from media.
While living in New York City, Goldin began documenting the post-punk new wave music scene along with the city's post-Stonewall gay subculture of the late 1970s and early 1980s, and shortly thereafter the effects of the AIDS epidemic. Throughout those years, Goldin developed a technique that enabled her to deal with increasingly heavy subject matter as a reporter and ethical being who accepts things as they are, rather than a judgmental commentator or moralist.
Goldin's work remains a benchmark of the contemporary visual imagination, and even at its crudest or most marginal, succeeds in using common archetypes, collective memories, stories with which most of us can identify.