Surrounded by a bold black perimeter, Flowers II from Keith Haring’s Flowers series pulls the viewer into an intricate choreography of colors and interlinked forms. Dominating the canvas are three primary figures in blue, red, and yellow. While their titular reference might suggest flowers, their pronounced human-like qualities, reminiscent of cubist sculptures, suggest otherwise.

The dynamic contours of these figures convey a sense of movement, either of writhing or perhaps dancing. Emphasizing their human nature, each figure is adorned with a phallic extension, showcasing Haring’s recurrent themes of sexuality and identity. Notably, these entities are not solitary; they are conjoined by what appears to be a chain. This binding element, speckled with yellow dashes, is a poignant allusion to Haring’s representation of the AIDS virus, perhaps implying the pervasive and binding nature of the disease.

Diverging from Haring’s emblematic application of bold monochromes, this piece showcases a raw, almost instinctual play with color. The strokes from the artist’s hand, which evoke the simplicity of a child’s touch, occasionally leave gaps, as if the canvas momentarily resisted the brush. Moreover, the colors, seemingly slathered on in haste, create a dripping effect that transcends the established borders of the artwork.

With its lively color palette set against a vibrant pink backdrop, the artwork exudes an infectious energy and urgency. Yet, beneath the vivid hues lies a narrative of duality, encapsulating life’s exuberant dances and its inevitable challenges. In signature Haring fashion, the piece beckons for introspection and individual interpretation, from the jubilant rhythms of existence to the unyielding chains that sometimes bind us, all narrated through universally understood symbols.

See also Flowers I, Flowers III, Flowers IV, and Flowers V.