|Outgrowing, Mona Caron's urban weeds left unattended, though in this case grown for their medicinal qualities in Kaohsiung, Taiwan.|
|Collaboration with Liqen, Mona Caron, public art commissioned by the City of Vigo, Spain.|
|Taking Root, Mona Caron.|
|Hers is not an art for those|
afraid of heights.
The Mission Blue Butterfly is the central image in Mona Caron's mural of Brisbane, California (below). This mural narrates the history of the small town within a display of the native flora of nearby San Bruno Mountain. The silhouette of San Bruno Mountain spans the whole background of the mural, while a number of native flowers (many of them butterfly host plants) are depicted in the foreground. The town of Brisbane is painted nestled within the large, protective shape of a Mission Blue Butterfly, a local endangered species.
|The Mission Blue Butterfly, Mona Caron.|
|Stream of Life, Mona Caron.A stream of water in the forest becomes a stream of people in the city. Both are the key to the vitality of their environments.|
|Bike Flower, Mona Caron, Curitiba Brazil|
|A Weed in Sao Paulo (Brazil), Mona Caron.|
When asked why she paints weeds, Caron first lays claim to the pejorative term "weeds", owning it, as it describes not the plants' intrinsic value but their action. Whether invasive species or benign wildflowers, plants act as weeds when they appear clandestinely, autonomously, in surprising urban places. This is why she creates some of her murals as on-site animations: to let the paintings not just BE, but ACT like weeds. Although a large number of them are classified with the ominous-echoing term "invasive non-natives," all immigrant plants are native somewhere. If they are here, it's because the global environment has been disrupted. It's a consequence of globalization, which is part of the metaphor.
|Manifestation Station, painted|
utility box by Mona Caron.