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https://www.youtube.com/watch?v=6ArAUMTkc_0

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The artwork is an installation containing moving images of flowers, gold shimmering shines and sparkles displayed on multiple panels. When viewed, people's shadows can be seen creating a silhouette on the artwork. Some of the colours includes, mainly gold, red, purple, pink, white and a black background.

The artwork represents a life cycle of growth and decay. Ever images can never be replicated. It can also have a representation of an ecosystem as each flower pedal decays, new ones grow back.

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The digital artwork created by Team Lab in 2015. This work expresses a very beautiful mood, which reminds me of the Japanese culture of death. Flowers blooms, grows and eventually leads to death. At the same time, interaction with the audience, and let the audience think of the human life, symbolizing life is a cycle. Multiple screens also remind me of the traditional Japanese byobu.

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TeamLab's ephermeral installation 'Flowers and People - Gold' (2015) compels a reflection on human mortality through the visual metaphor of a flower that continually blossoms and wilts. By being in the form of a wall mount placed at eye-level, the work transgresses the physical limitations of a conventional white cube gallery space. This, coupled with its interactive intention transforms the passive viewer into an active participant. Only when our eyes dawn upon its surface can the reciprocal ballet begin - in this case, a moment of soul searching performed by the audience. Such an emotional response is only intensified by the muted and yet ethereal lighting, evocative of fairy lights and a state of reverie. When we consider that the footage is not pre-recorded and instead generated by a computer program, it becomes clear that each experience of this artwork is fundamentally unique and exclusive. This is reinforced by the fact that the viewer's physical motions are captured onto the proverbial page by visual sensors.

Additionally, the length of the horizontal eight channel form emulates Edo-period scrolls, thus categorising this work as a potential neo-nihonga piece. Because this pays homage to pre-Meiji Japanese festival and/or celebration, the viewer necessarily is forced to reconcile their nostalgia for the past with the currency of the present. In a bittersweet manner, we come to the epiphany that the march of time is relentless.