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The still life early in its history had already embraced its subjects "natural mortality" far before Sontag called photography an elegiac art stayed against death as if painting had already embraced it, this ability to carry itself forward. This provides the sentimentality, that care placed for what wished to hold like keepsakes. de Rooij's dying but replenished bouquets back their sentimentality on the burned capital to maintin them, asininely. But most art is content to package its precious moments in whatever porcelain taken for medium. You can embalm the world after all.
See too: Willem de Rooij at Arnolfini
