Field Studies Flora

Field Studies Flora The most amazing things come from the earth. We bring them to your doorstep.

Placing value in the peculiar, is an account that lingers on the details. We approach all of our projects with the same...
08/22/2026

Placing value in the peculiar, is an account that lingers on the details. We approach all of our projects with the same sentiment, mimicking the wild ephemerality of landscape instead of caging it, but at Quarters, this way of seeing is penned into the brief itself.

We are seeking a Creative Production Manager to support the studio by managing our event and weekly accounts production....
08/19/2026

We are seeking a Creative Production Manager to support the studio by managing our event and weekly accounts production. The role is part-time to start with the potential to grow into a full time salaried position. This position is well suited to someone who has at least two years experience in production, can lead and direct a team, understands the necessity of customer care, is an early riser (our days start at 7, sometimes 6 am), and cares about the things we make. Though floristry experience is not required, it is ideal. For those who may be interested, you can explore the full job description at fieldstudiesflora.com/careers

We are seeking florists to support the studio this fall who approach their craft with a sense of wonder, attention to detail and a desire to more deeply understand the flora we showcase. If you share a similar philosophy, we’d love to hear from you. September availability is a priority. For those who may be interested, you can submit an intake form at fieldstudiesflora.com/careers

Long before we were cutting stems for Manhattan windows, the New York Botanıcal Garden was cataloging the same wild popu...
08/16/2026

Long before we were cutting stems for Manhattan windows, the New York Botanıcal Garden was cataloging the same wild populations for Wild Flowers of the United States, a study we keep close at hand. Its 1966 volume includes plates captured with the same careful attention we try to bring to our work: every ray floret accounted for, every stamen given its due.

A favorite in the studio library: Hand to Earth: Andy Goldsworthy, Sculpture 1976–1990, edited by Terry Friedman. Nothin...
08/07/2026

A favorite in the studio library: Hand to Earth: Andy Goldsworthy, Sculpture 1976–1990, edited by Terry Friedman. Nothing photographed here is exotic, just leaves, mud, ice, and stone, the kind of material most people step over on the way to somewhere else. . Ten contributors, John Fowles included, write alongside the plates rather than beneath them, which is rarer than it should be. The book stops in 1990, before “land art” became a truly known category.

Kloris No.6, shown here in agate. Holds approximately one modest meadow.
08/05/2026

Kloris No.6, shown here in agate. Holds approximately one modest meadow.

Tree peonies, ornamental grasses, and a mix of common weeds, arranged with no obvious hierarchy between them. A slow inv...
07/31/2026

Tree peonies, ornamental grasses, and a mix of common weeds, arranged with no obvious hierarchy between them. A slow investment — a shrub of tree peonies can take several years to flower and the bloom itself lasts only a week or two, which has earned them a certain reverence among gardeners. Here that reverence goes unacknowledged; the peony sits beside grass pulled from the same general vicinity as everything else in the room, appraised on line and color rather than provenance. It’s worth noting that most weeds are simply plants that have failed to secure cultural sponsorship. Put in a vessel and placed on a table, the distinction collapses almost immediately.

Some plants come from a nursery in New Jersey running on gas. Others come from one in the Netherlands, solar-powered wit...
07/30/2026

Some plants come from a nursery in New Jersey running on gas. Others come from one in the Netherlands, solar-powered with recycled rainwater, but shipped overseas. “Which one has the bigger carbon footprint?” Alex asks. It’s the kind of question that shapes how our studio sources: locally, working directly with foragers and growers. In Konfekt’s spring issue ( #22), Alex spoke with John Ortved about disrupting old-school ideas of what flowers should look like, and why locality complicates things more than people might expect. Photos by Alexander j Rotondo in situ at QUARTERS.

“Wild Nature’s Ways” — R. Kearton, F.Z.S., with photographic illustrations by Cherry & Richard Kearton⠀⠀⠀⠀⠀⠀⠀⠀⠀One of ou...
07/27/2026

“Wild Nature’s Ways” — R. Kearton, F.Z.S., with photographic illustrations by Cherry & Richard Kearton
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One of our favorite recent additions to the studio library. Published at the turn of the last century, this volume sits near the origin point of wildlife photography as a discipline, back when the entire enterprise was still classified somewhere between natural science and lunacy. The Kearton brothers were among the first to photograph birds and animals unstaged and in situ, using hides of their own invention — including, most memorably, a fake ox that Cherry climbed inside of and had hauled around the countryside on a cart, on the theory that birds distrust a man but will tolerate livestock.
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But the ambition of the book extends well past birds. Tucked between the ornithology are plates of Large White butterflies dusted in dewdrops, six-spot burnet caterpillars mid-transformation on a stem, moth pupae cases — the kind of unglamorous, patient subject matter that photographing insects in the field demanded long before anyone had a name for macro photography. Getting a bird to hold still was hard enough; getting a caterpillar to look photogenic required an entirely different kind of stubbornness.

A year ago, we held our first gallery show at Demisch Danant, titled “Naturalia” — Latin for “matters of nature.”⠀⠀⠀⠀⠀⠀⠀...
07/24/2026

A year ago, we held our first gallery show at Demisch Danant, titled “Naturalia” — Latin for “matters of nature.”
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Expanding our use of floristry beyond the vase to include the vessel itself, we created 3 vases in our studio using grasses, leaves, and sedges. These pieces held pastoral landscapes in place for several months in the windows and showroom of Demisch Danant, a display of nature’s unwavering will to grow where we do, and of our obsession with flora that doesn’t include a blossom.
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For the one-year anniversary, we asked Austin Sandhaus to visit our studio and photograph the vases from our archive, documenting their beautiful shift in color. Once verdant green, each vase is now a different mix of sun-bleached olive and pastel yellow — a reminder that matters of nature are always changing.

Forged in Yamagata, where generations of blacksmiths have refined tools for orchardists, florists, and gardeners alike. ...
07/16/2026

Forged in Yamagata, where generations of blacksmiths have refined tools for orchardists, florists, and gardeners alike. Tobisho secateurs are prized for their balance, edge retention, and clean cuts that support healthier plants. Available now in the shop.

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