Contained within a thick black border, Flowers I from Keith Haring’s Flowers series offers viewers a tableau rife with symbolism and color. At its heart lies a sprawling red figure, its limbs splayed energetically across the canvas. Its enlarged head is accentuated by a singular, hollowed-out eye and an open, surprised mouth. Hovering nearby is a distinct yellow orb, possibly alluding to the sun or another celestial entity. Curiously, the figure seems poised to consume several phallic-like “flowers” severed from their green stems. Their identification as ‘flowers’ would be ambiguous if not for the artwork’s title.

Unlike the bold monochromes of Haring’s more iconic works, Flowers I has a raw, impulsive, childlike application of color, with thick strokes leaving sporadic gaps. Furthermore, the colors appear hastily applied, causing drips that overlap other elements, even cascading past the defined bottom border.

Painted during the final phase of Haring’s personal battle with AIDS, the composition resonates with themes of tension, movement, and the inevitable confrontation with mortality. The faceless red figure may allude to the clandestine world of anonymous encounters, while the phallic symbolism of the flowers suggests temptation, danger, or metamorphosis. One of the two flowers, dotted with specks of color, is evocative of Haring’s frequent reference to the presence of the AIDS virus. The pristine blue backdrop, juxtaposed against the radiant yellow sphere, hints at the stark clarity of a noonday sun or an epiphany. True to Haring’s legacy, the artwork encourages diverse interpretations, allowing audiences to imbue it with their unique perspectives, drawing upon his universal motifs.

See also: Flowers II, Flowers III, Flowers IV, and Flowers V.