Kristy Flower is an Italian artist based in London, known for her artistic focus on motifs such as the vagina and the vulva, inspired by women and mother earth and her independent brand that specializes in vintage reworking, painting and restoration.
Our first encounter was through her sculptures. While strolling through the streets of London in December 2023, I had the opportunity to spot two of her works in a shop with a diverse and eclectic spirit. Intrigued, I ended up leaving with one of her sculptures [Image 1]. The artist, who had kindly agreed over the phone with the saleswoman to share her contact details, sparked my curiosity. This initial interaction led to a conversation, ultimately resulting in the following interview.
What I perceived in this sculpture was a manifesto. This naked woman, with her breast provocatively exposed, takes her revenge and expresses her power through the vagina that covers her. She frees herself from the history shaped by the male gaze to reclaim her identity. She is the source of the world around her, of the Cupid who reduces her to carnal desires, lust, and vanity, as this naked body embodies the symbolism of the transience and futility of beauty in its ephemerality. Whether she thinks through all this in detail or is carried away by a profoundly intuitive feeling, one thing is certain: Kristy, through her sculptures, emancipates women from patriarchal constraints. Kristy's woman reclaims control over her body, her image, and asserts herself as a whole being.
Interview with Kristy Flower - The 21st April 2024
CC: Is your name really Kristy Flower?
KF: No, it's been my art name since I was 16. My sur name in Italian is "garofano," which means carnation. My given name, as reflected in my official documents, is Martina. However, it didn't feel sufficient for who I am. Everybody call me Kristy or Flower since looong time, it’s a big curiosity the document name.
CC: What inspired these sculptures, and when did everything begin?
KF: The sculptures started about three or four years ago. One day, I bought some clay and was pondering what to do with it. I naturally realized that creating a vagina was the best choice, as it holds significant meaning, and the meaning goes beyond my gay orientation as it expands to my complete devotion to Mother Earth. My passion for this art form is profound, as each piece is crafted with meticulous care and reverence, reflecting my deep respect and love for nature. It's not just a vagina but a symbol that encompasses a wide range of emotions and meanings. You might see it as a vagina, but you could also see a flower or something sacred. It transcends divinity and represents the essence behind the universe, the world, and everything we know.
CC: Your vision of the vagina as an art medium and a source of life reminds me of "The Origin of the World" by the French painter Gustave Courbet. Is there any connection between your art philosophy and his paradigms?
KF: Yes, there could definitely be a connection between these two visions. Additionally, I aim to convey the message that women possess power—not in the stereotypical sense of "girl power," but in the realization that each one of us is a temple, a cathedral, a beautiful place, unique in our own right. I believe women have more power than men, not just because of our anatomy, but because we have the capacity to bear life and a deeper understanding of the world through our sensitivity and empathy. I want to spread the message that we are women, but we are energy first. We are not just humans; we are energy. If we don't take care of this energy, the result is chaos.
CC: So for you, the vagina encompasses all these concepts at the same time?
KF: Yes, and even more. Unfortunately, words are often insufficient to express the full range of meanings and symbols the vagina carries. Sometimes, silence speaks louder than words. Regardless of the language you speak, the audience often fails to listen, conditioned by their own expectations. So, silence might be more appropriate.
CC: Do you think we lack the vocabulary to express the reality you are creating, given that our languages were shaped by patriarchal societies where female genitalia were deliberately marginalized?
KF: No, I think silence is simply better. When you have so much within you and show your art to people interested in purchasing it, for instance, it's challenging. Silence is better. No words, just action.
CC: Because through words, your message can be misinterpreted, as misunderstanding is inherent in social communication. It can quickly turn into "she said this," even if you didn't:
KF: Yes, but that's the interesting part. You realize that everyone sees what they want to see, projecting their own priorities.
CC: Now I understand your response better when we discussed on WhatsApp, and I asked about the sculpture I had just purchased (Image 1). Instead of sharing insights, you asked me, "What do you see? What was your opinion about it, and why did you buy it?" Nevertheless, I am still curious. Could you tell me more about your work and its meaning, such as why you added a sculpted vulva to a classical painting print?
KF: Because I like the concept that everything can be connected to female energy, like the power of God. Who says God is a man? (But that's a broader topic.)
CC: But why on a classical painting and not on a modern or contemporary one?
KF: Contemporary and modern works don't evoke the same feeling for me.
CC: Do you feel that classical paintings often hid female genitalia, and now you're trying to bring those women into the light?
KF: Yes, definitely. However, it was a different culture and time, which belongs to the past. I'm not judging what happened but trying to raise awareness. I like making people question rooted beliefs, opening themselves to new perspectives, and understanding there is no universal point of view.
CC: This brings me to the current topic of cancel culture. I've been listening to many podcasts about canceling personalities because they were bad people, with Picasso often mentioned. What do you think about this?
KF: You can't correct the past, and that's not my goal. The only thing we can do is focus on the present to create a better future. It's not easy because when you express yourself or explain a core concept of your art, it might not be received as intended. Everyone has different stories and backgrounds, so I don't judge. However, I understand that judgment exists, and I'm okay with that.
CC: That leads to my next question. How do you handle judgment?
KF: I don't feel the need to prove anything to anyone. I live my life and create my art. I don't care about people judging me and have felt this way since I was young. I only care about the opinions of my loved ones and those "under my wing." Most of the time, I prefer solitude, though I do organize meetings selectively. I know what I want and have no problem saying no. It's not personal; it's just a feeling. There's a reason for almost everything, even coincidences. If coincidences keep repeating, they are no longer coincidences.
CC: From my experience, working, collaborating, or just talking to artists can be challenging because many have oversized egos. This isn't universally true, of course. What do you think about this attitude, and how do you feel as a contemporary artist?
KF: I dislike such people and avoid them whenever possible because they're not on my wavelength. In 2024, it's difficult to call oneself an artist because everyone aspires to be one. Historically, the category of artists was very different. Now, everyone wants to be somebody, an artist, a TikToker, and so on. But then what? Art needs to inspire and evoke emotions. It's rare for me to find someone who truly inspires me.
CC: It's interesting that the people I truly consider artists often dislike the label.
KF: For me, it's very difficult to call myself an artist. People should decide if you are an artist; you can't label yourself. Being an artist is about staying true to yourself, even if it seems unconventional or outside the general norm. For me, it's difficult to consider myself an artist, even though my life is inherently artistic. I don't just create sculptures; I produce various forms of art, such as tattoos. Additionally, I have an independent brand focused on vintage rework, paintings, and restorations.
CC: Are the vulvas inspired by real ones, or are they purely from your imagination?
KF: I don't use models, so they are not based on real people. However, I draw inspiration from real vulvas. The result is a combination of my imagination and how I feel the clay.
CC: What is the general reaction of the audience when they first encounter your art?
KF: There are many different reactions, which is the beautiful part. Observing the details of viewers' personalities can be very amusing. For example, during exhibitions, including at my space in Camden Town, I've noticed people laughing, smiling, expressing admiration, and commenting on the beauty of the idea.
CC: Are you advocating feminist ideas through your art, or is it a political message?
KF: Neither. I am not a feminist, though my work emphasizes female energy. It can't be reduced to political ideologies, although it can be correlated with feminism. It transcends political statements. On a larger scale, I don't care about politics because I don't believe any political party represents me. To me, they are all the same, so I just cross my fingers and hope for the best.
CC: If there was only one thing viewers could remember after seeing your art, what would it be?
KF: Be true to yourself and your power. You can be everywhere with anyone, anywhere, but first, you need to be with yourself and take care of yourself. This is why I like using gold. Gold reminds us History : the opulence of the cathedrals, the palaces with their golden gates etc. and a golden vagina is the perfect analogy to remind us of those golden gates, and that is sacred and we have to take care of it.
CC: Have you ever felt embarrassed about exhibiting your work to the public?
KF: Never. I have only felt embarrassed for some people because they are not aware. They don't understand the meaning, so I feel embarrassed for them.
Photo gallery
Instagram: kristyflower_
Instagram: 30.trenta_