E.V. Day’s aluminum Pollinator (Water Lily) series is another example of overt sexuality. “I ditched the petals”, she explains, “leaving only the reproductive parts of the flower exposed.” The original flower was taken from Monet’s water lily pond in Giverny, France. She pressed and scanned the flower using a 3D scanner, and then enlarged it to six feet. “Looking into the enlarged image of the water lily, I saw architecture, masks, chalices, vaginas, horns, thorns, fire, insects, the origins of art nouveau and the curvilinear lines of the baroque. It all comes from the study of nature and botany.” She found herself deeply moved by this profound experience drawn from something one might see everyday. “I saw everything within this flower, this accessory of sentiment.” She chose to work in aluminum—the same lightweight, durable material used in the construction of spacecraft—for its relationship to aerospace and as a means of conceptually reinforcing the notion of having transported the ephemeral flower through digital space. 

E.V. Day believes that we will need use to technology, in concert with nature, to solve many of the worlds problems—problems that were often created by earlier forms of technology. “As the concept of environmentalism becomes integrated culturally, we must continue to explore the relationship of nature and technology,” she says. “In the future, our species will depend on technology to preserve the complex beauty and mystery of the world, and to build a new and sustainable world for generations to come.” It is a future that is nearly impossible to imagine.