There is a moment, just before the museum opens, that feels especially sacred.
We arrive early, flowers in hand, walking quietly through the galleries before the day begins. The museum is still, and light starts to move through the space — slowly at first then all at once. It spills through the windows as the sun rises. It’s one of the most beautiful parts of Art in Bloom, getting to create in that quiet, surrounded by so much history and intention.
The calm that settles in during those hours is what makes us florists. Our hands at work, adjusting stems, stepping back, and returning again.
Later in the day, we get to come back and watch people experience our creations. The shift from the morning calm to the afternoon buzz is immediate with energy and movement. People pause, lean in, point things out to one another. The soft murmurings of appreciation, realizations of key aspects, as those surrounding the piece take in all the minute details. That beautiful moment is why we do what we do.
Being included in Art in Bloom is something we do not take lightly. To have our work placed alongside pieces created by other incredible artists — it’s an honor every time.
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Everything begins with the artwork.
We go to the museum and spend time with our chosen piece before making any decisions. Standing in front of it, taking in the shape, the scale, the feeling of it. Color is usually the first thing that stands out, followed closely by form.
From there, it’s less about recreating and more about understanding.
We think about what the piece is expressing (what feels essential) and how that can be translated through flowers. This is not a direct translation, but the underlying themes carried forward through a different medium. Oftentimes, the symbolism is our truth — what is the work holding? What does it leave behind?
That’s where the direction begins.
Art in Bloom, Milwaukee Flower Co., 2016
Art in Bloom, Milwaukee Flower Co., 2017
Over the years, Art in Bloom has become something we look forward to in a deeper way.
Certain pieces stay with us — installations that pushed us or asked us to think differently. In 2017, we were honored to receive third place, which felt like a quiet recognition of the work we had been building. There have also been seasons that felt more behind-the-scenes, like 2016, when part of the process was documented. Even if those pieces are easily revisited now, they are still an integral part of the story.
Each year adds something new. There’s always a new way of seeing and a new way of working.
Art in Bloom 2026
This year, we were assigned Two Piece Marble (Rangatira) 1968-1969 by Barbara Hepworth (English, 1903-1975).
Seeing it in person, the scale is what struck us first. It’s grounding, but not heavy. There’s a softness to it, even being made out of stone. The form feels considered, balanced, and very intentional — and that’s what we kept coming back to.
We wanted the flower design piece to feel simple, but not minimal — something that holds its own without asking for too much attention. The arrangement includes calla lilies, protea, orchids, and amaranthus. Each one chosen for its shape and presence, something that could feel light but still substantial.
There’s a natural tension in working with flowers in a space like this. The sculpture will remain, but the flowers won’t.
We leaned into that. Letting the piece speak to both — the fleeting and the constant — and trusting the viewer will feel it. While we have a statement regarding our intentionality, there are some things that are felt, rather than spoken.
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The process itself moves fairly quickly at the start.
Once the artwork is chosen, the initial idea comes together almost instantaneously with a sketch and general shape. From there, it becomes more about refining. Finding the right elements, sourcing what’s needed, and making adjustments along the way.
This year, the container took time. It needed to feel aligned with the piece, but not distract from it.
Then comes the installation. There’s something grounding about this component. Being in the museum, working with our hands, placing each stem with care — it brings everything back to the simplest form of the work.
For us, one of the most fulfilling parts is still the beginning when we choose the artwork and select the flowers that correspond to it. That moment of alignment never really changes.
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Art in Bloom is a reminder of why we do this.
It gives people a chance to slow down and notice — to see flowers not just as something decorative, but as something expressive and worth spending time with and on.
We’re always grateful to have our work included at the Milwaukee Art Museum. It’s a space that holds so much, and to be a part of an installation, even for four calendar days, means the most.
At the end of the day, we hope people leave wanting more of that feeling. More flowers in their homes, more moments of beauty in their everyday life, more joy in quiet moments — even when it’s fleeting.
