Outside the world of Moorcroft, perhaps one the most frequently-featured flower in art from the 1900’s onwards is the water lily. It may be due to its simple and understated creamy-pink petals, its curious habit of occupying the surfaces of freshwater, or the fact that its formation was once considered to represent the pattern of the earliest flowering plants. For whatever reason, the water lily never fails to project a notion of harmony and tranquillity to whomsoever is fortunate enough to behold it.

Rachel Bishop, in knowing the calming effect of the flower, first introduced it in Lamia and then proceeded to multiply its appeal by surrounding her water lilies with the disciplined pattern-work of the Art Nouveau era. Rachel’s latest water lily sits neatly in the palm of a darkening lily pad, attracting the attention of jewel-coloured dragonflies. The lower part of the vase plays host to the orderly flower heads of regimental irises. The leaves, in dusky green, melt into the cool trickle of water at the bottom of the vase, all of which tie in with the slender curves of her chosen Moorcroft shape.

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