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E. V. Day, Water Lily, 2010–11, digital composite on photographic paper, 72 x 72". From the series “Seducers,” 2010–11.

E. V. Day

Carolina Nitsch

E. V. Day, Water Lily, 2010–11, digital composite on photographic paper, 72 x 72". From the series “Seducers,” 2010–11.

Last summer, E. V. Day spent three months as an artist in residence at Monet’s garden in Giverny, France, with the charge that she find inspiration in the floral idyll being the only condition of her stay. The fifty works that visit yielded, fifteen of which comprised this show, began as horticultural residua. Day trailed Giverny’s gardeners on their pruning rounds and selected the most striking of the clipped botanicals, which she then pressed in a microwave, scanned digitally, and printed, magnified to eighteen times their original size, on photo paper. Color has not been manipulated, but form has: Half of each image was mirrored, rendering the individual flowers bilaterally symmetric, their pistils and stamens forming a vertical axis ringed by petals of brilliant, almost lurid, oranges, pinks, and purples.

On first look, this project seems a shift for Day, and not only for its

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