Originating from the body of work first developed under the title Drowning in Brands, Rosae uses the rose as a recurring structure through which desire, devotion and systems of value are examined. Constructed within highly purified water and recorded directly onto analogue film, the works compress one of art history’s most persistent symbols into concentrated fields of repetition and accumulation.
Working with controlled light through a liquid lens and in-camera construction, Hamilton reorganises floral forms into suspended architectures that oscillate between abundance and collapse. Individual blooms lose distinction, dissolving into larger structures that suggest worship, spectacle and the ways meaning becomes collectively organised around symbols of desire.
The series considers how symbols migrate through repetition. Removed from their decorative function, the roses become carriers of projection and cultural attachment, existing simultaneously as object, image and icon. Rather than depicting devotion, the works examine its relocation.
Exposure records these conditions directly onto film, producing photographs in which form remains suspended between seduction and disappearance.
