The Inness landscape was the most literal interpretation as a fragrance. The painting itself is very atmospheric which immediately evokes the smells of smoke, earth, wood, grass and a balmy, thick air. Woodland notes of fallen leaves, fertile earth, aromatic wood and smoke would be the pillars of this scent.
Rauschenberg's conceptual visuals and use of mixed mediums proved to be more challenging compared to the Inness, Hopper or even Mokgosi. Still we were intrigued and let the materials inform the scent we were to compose. Ink, paper, film (X-rays), carbon all inspired a "chemical slant" to our fragrance. Here, we experimented with synthetics which seemed appropriate in capturing a detached, almost antiseptic feeling that we found in Rauschenberg's works.
In Mokgosi's work, although depicting the daily life and/or allegories of a culture that was foreign to us - literally, the shear emotional response from his "Lerato" (Love) diptych would lead us to use lush, woodsy and resin notes with just a bit of floral sweetness that spoke to the work's theme.
Hopper's painting, "Morning in a City", was more of a psychoanalytic exercise. His technique and composition renders the environments eerily still as if the oxygen was sucked out of the room. Yet, with the still figure, lost in thought, you can't help but try to assess her state of mind, what she is about to do, or has just completed. The cool, damp feeling of the room vs. the warmth of the outside world, the pale skin vs. the fiery hair. It's both serene and dynamic simultaneously. Our fragrance aimed to capture a sweet seductiveness contrasted by a slight bitter sharpness with the notes we blended. This one you can judge for yourself if we achieved our goal . . .