Interview: How Decorative Wallpapers and Avian Portraits Investigate Themes of Home Life and Longing

“Galah Cockatoo, No. 7461, English Arts and Crafts Paper” (Photo: Courtesy of the photographer and Warwick Editions)

The 18th-century naturalist and ornithologist George Edwards once stated that “art and nature, similar to two sisters, ought to always walk hand in hand, so they may mutually support and assist one another.” In Claire Rosen’s creations, that philosophy has undeniably found renewed energy. For years, the photographer has crafted whimsical portraits of animals, ranging from bears and camels indulging in elaborate feasts, to cats joyfully exploring replicas of pool bars and artist studios.

“Animals are now at the heart of my creative process,” Rosen shares with My Modern Met. “Each interaction is fueled by wonder, respect, and patience.” Yet these interactions are also upheld by the unity that Edwards championed.

Rosen skillfully navigates the realms of nature and photography, merging both to investigate art history as well as her environment. Perhaps nothing captures that concept better than her Birds of a Feather series, where a diverse array of avian species are photographed against elaborate backgrounds. One particular image showcases a lanner falcon resting on a branch, its mottled feathers reflecting the acanthus leaf paper behind it. In this context, the bird effortlessly integrates into the adjacent wallpaper, which also evokes nature through its organic patterns. For Rosen, the interplay between her avian subjects and her wallpapers isn’t solely about achieving aesthetic balance. It is also about highlighting the transformation of a wild creature into a domestic subject.

“With time, I began to view wallpaper as a representation of the human-made environments these birds occupy when we take them in as pets,” Rosen notes. “While the birds may seem in sync with their meticulously arranged backgrounds, it is a stark contrast to their natural habitats.”

Consequently, a “dislocation” is taking place in these images. Birds are engulfed and ultimately governed by human longing, akin to other remnants of the natural realm. The wallpapers also reference an epoch in European history when colonization similarly resulted in the brutal detachment between individuals, animals, objects, and their native environments.

“As ‘discoveries’ were transported to Europe and the Americas, they spurred aviary collection and exhibition as part of the urge to gather and systematize the natural world,” Rosen elaborates. “These visuals not only emphasize beauty but also prompt a deeper contemplation of our connection to the natural world, urging viewers to reflect not only on what we admire, but also on the ramifications of our urge to own it.”

Although we cannot possess the birds themselves, we are able, however, to possess their images, thanks to Rosen’s latest book. Released last December by Warwick Editions, Birds of a Feather assembles approximately 120 images from the eponymous series, featuring everything from hawks, flamingos, and penguins, to chickens, owls, and macaws.

“If the work provides even a fleeting moment of connection—encouraging viewers to notice and care—then it has accomplished what I had envisioned,” Rosen states. “As we appreciate what nature has inspired in art, I hope we might also ponder what art can offer to nature in retaliation.”

My Modern Met had the opportunity to interview Claire Rosen regarding her photographic practice, her theoretical foundations, and her Birds of a Feather series. Continue reading for our exclusive conversation with the photographer.

“Moluccan Cockatoo, No. 7696, Damask Paper” (Photo: Courtesy of the photographer and Warwick Editions)

“Lanner Falcon, No. 7234, Acanthus Leaf Paper” (Photo: Courtesy of the photographer and Warwick Editions)

What initially attracted you to photography as your main artistic medium?

I vividly recall my first experience in the darkroom, watching in awe as an image emerged from a blank sheet of paper. I remember thinking, this is pure magic. I was completely entranced.

I had always been inclined towards the arts, yet I was never particularly patient or naturally adept at drawing or painting. I frequently felt frustrated by my inability to convey what I envisioned onto the page. The camera, however, provided a tool that felt both instinctive and immediate.

Photography opened a door to create a world shaped by my own imagination, one filled with distinctive experiences and interactions with the subjects that intrigued me. Capturing images allows me to explore the world, comprehend how I feel about it, and find my place within it. Through the lens, I uncovered not only a medium, but a method of exploration.

“Lutino Cockatiel, No. 7874, Damask Motif Paper” (Photo: Courtesy of the photographer and Warwick Editions)

“Saker Falcon, No. 4338, Floral Brocade Textile” (Photo: Courtesy of the photographer and Warwick Editions)

“Great Horned Owl, No. 2514, Printed Floral