Bednarsky presents a series of glazed sculptural ceramics in the shape of traditional bouquets consisting of objects such as fish, bacon, hunting trophies, sausages, chickens, and other such grill party worthy items in forms often reminiscent of genitalia mixed with flowers. The bouquets seem to each hold a character or imply a narrative – one can already imagine the ‘hopeful’ couple who receives the erotic bouquet of calla wrapped in chicken with rose petals, or the fish whose mouth opens into an inviting expression of a vagina atop chards with scrotum veins. Their glossy appearance exudes a kind of grotesque contrast to the expected traditional feminine floral bouquets. The artist creates a kind of new absurdist world in which nature, bodily parts, and animals all mingle into one. Poking fun at society’s clichéd thinking with a big wink, Bednarsky also shines light on the absurdities of consumer culture and profit. Tradition stands no ground here as anything and everything can be tweaked, manipulated, and repurposed for the sake of engaging with a new kind of buyer. It is inspired by an obscure new trend in which “male bouquets” are offered online with an array of cliché-laden 'typically male' objects put together to form bouquets known as “Männerstrauß”. Here we experience both the 'masculinization' of a once romantic gesture and also a confrontation with our own concepts of what is appropriate as a gift to the opposite sex. Why leave the men out of the tradition, and if we bring them in, why must we contaminate the gesture with such a Macho essence, why not simply have men receive flowers? Take it even further and we can ask ourselves why are we so uncomfortable with any kind of masculine context and whether the masculine touch has lost all relevance.