Against this background of ideas, Miron Schmückle seems a taxonomist in a playful mood. His floralsequences – in which the arabesque inclination to symmetry is avoided – always appear on a white background, similar to how isolated plants are documented in botanical textbooks, exposing the plant to the eye which acts as a dissecting organ. In his arrangements, Miron Schmückle is opposed to this ability. Here the eye travels, it focuses on a centre, a point in the middle of the composition – and loses its hold because it follows the vine-like movements and tentacles of the vegetation, and new flowers and fruits attract its gaze. Here, the eye is passing, like a honey bee in a garden resembling a sea of flowers. One just cannot be satisfied by what one sees – this is the name of the exhibition ” Non saturatur oculus visu”, meaning the eye is not satisfied with seeing. Miron Schmückle challenges the eye to become an organ of understanding. Every detail, every sprouting element, from germinating seed to bud and full floral splendour, is shown in its full individuality offering the eye new views. Similar to a musical composition, in
the “all-over”, there are piano parts, a swelling forte, and agglomerations in which the visual orchestra performs the central motif anew. All of this is on a white background – is Miron Schmückle a botanical documentarian after all? No. By addressing cultivars, a botanist has the mission to make new attributions and to integrate them into a system of classifications. Of course, Miron Schmückle knows the world of plants. He knows its components and he
proves a confident cultivator, with the help of watercolour brush, coloured pencils and a wide spectrum of painting materials, from water-soluble pigments to water-resistant shellac. He completed the systematic title “Botanical Archives” by adding “out of my brain”. Miron Schmückle creates images of his floral fantasies, aware of the fact that by doing so he competes with growers of orchids and roses, who will never tire of breeding new cultivars and naming them in the same creative way. Thus, signifiers assume a new meaning, since English rose growers have created cultivars and named them after representatives of the English Royal Court. And at the same time, in the face of this luxuriant explosion, large projects almost fail because their realisation threatens the existence of a rare plant. Why do not persons with the proverbial green thumb intervene here?