In the sculpture series, Rivotril flowers fall the ’psychosomatic photograph’ incarnates into body parts to tackle the subject of psychopharmacological abstraction after photographic abstraction, the interrelationship between the organic body and the medicine as an abstract body. Organized into a pharmacodynamical narrative, following the route of the medicine from the oesophagus [Gag reflex] through the stomach [Serotonergic swirl] all the way to the damaged hip bone due to its side effect: the grandmother of Bolla was under the influence of Rivotril (one the popular, underregulated and addictive anxiolytics) during watering the flowers in her garden, which led to lightheadedness and the breaking of her leg as she fell to the concrete. The damaged hip joint was replaced by a prothesis, but she remained almost immobile, not because of the physical but of the psychic collapse, the aggravation of her depression after the accident.

The pelvis and the hip bone connected by the prothesis themselves emphatically resemble a flower as one of the pharmaco-kinetic sculptures. These sculptures are bodies deformed by bio- and psychopolitics, buffer zones for the conflict and synthesis between the nervous system and „emotional technologies” (James Davies), the external social reality and the internal, psychosomatic reaction. Directly invoking the features of Secession table lamps, these works revisit the turn-of-the-century conflict between functionalism and Art Noveau, between dead abstraction and vital figuration, the inorganic and the organic, nature and technology. Bolla reactivates William Morris’ idea of the anticapitalist ornament as a newly potent form-language of resistance, carrying the utopia of a post-biopower word against the system’s abstract oppression.

Barnabás Zemlényi-Kovács