Since founding The Pansy Project in 2005, Paul Harfleet has been planting pansies at sites of homophobic and transphobic abuse. Each flower is documented, titled after the words of the abuse, and added to this website. Through this quiet yet powerful act, the ongoing project gently confronts hate crime and brings visibility to LGBTQ+ experiences that often go unreported. To date, Harfleet has planted more than 300 pansies around the world—from London to New York and beyond. Learn more here.

LAST WEEKS > ENDS 29TH MARCH

LOOK Climate Lab 2026 is a biennial programme exploring how photography can be a relevant and powerful medium for talking about climate change. The show includes a selection of 60 photographs from the last twenty years of The Pansy Project, alongside a large print of The Pansy Project Garden that featured at the RHS Hampton Court Palace Flower Show in 2010, designed by Paul Harfleet and his brother Tom Harfleet. Pansies; A History of Violence, is an essay written by Paul Harfleet that accompanies the installation, available in the gallery and for download here. – The exhibition features many artists and activists from across Merseyside and beyond discover more here – The exhibition is open from 23 Jan 2026 – 29 Mar 2026. Above install images of the exhibition at Open Eye Gallery. Photo credit: Rob Battersby

Coming soon to a screen near you, The Pansies of Cornwall; a little film by Paul Harfleet, made in association with Arts and Culture Exeter and Cornwall Pride. Follow socials for further updates.

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NEW / An essay on Remember Nature, reflections on work made in 2025. The PDF’s linked here offer further reflections on The Pansy Project. Musings on a Floral Tribute by Paul Harfleet explores the context of the Pansy Dress currently on show at Manchester Art Gallery. Antennae is a publication that features an in-depth article on the history of the project by Joey Orr – Page 81-93 – from 2020.

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Merchandise & Meaning

NEW! A Blog entitled “The Pansy Project: Merchandise & Meaning” here.

Above (bottom left) a new design exclusively available at Manchester Art Gallery, read all about it here. Merchandise has always been of interest to Paul Harfleet, they consider it to be a way for the wearer to become an ambassador for The Pansy Project, more on the thinking behind each piece here. The small amounts raised from merch, contribute to some of the costs of the work, from pansies to travel.

Bio:

Paul Harfleet (he/him) is a British, London based queer artist that has been making work since he graduated from an Ma in Fine Art at the Manchester School of Art in 2004. He developed The Pansy Project in 2005 and moved to London in 2009 where he continues to practice as an artist whilst earning a living as an illustrator and designer. In 2020 he began a new project exploring the cultural history of ornithology, the project known as Birds Can Fly can be explored here. Both projects run simultaneously, you can contact the artist here for further enquiries and more on recent exhibitions here.

Further Context:

The plantings remain the core of The Pansy Project, though Harfleet has created other ways of sharing the conceptual story of The Pansy Project over the years, from eco-friendly merchandise, to a jewellery collaboration with Tatty Devine. In 2010 Paul collaborated with his brother Tom to create the Gold Medal winning Pansy Project Garden at the RHS Hampton Court Palace Flower Show. In 2017 he wrote and illustrated ‘Pansy Boy’, a children’s picture book that was short-listed for the Polari First Book Prize. In 2022 The Pansy Project was showcased by Cheddar Gorgeous on Ru Paul’s Drag Race UK, highlighting The Pansy Project to a new global audience. Since 2005 The Pansy Project has featured in many publications and on screen.

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How The Pansy Project Began by Paul Harfleet

“Fucking Faggot!” Upper Brook Street, Manchester, 2005

“A string of homophobic abuse on a warm summer’s day was the catalyst for this project. The day began with two builders shouting; “it’s about time we went gay-bashing again isn’t it?”; continued with a gang of yobs throwing abuse and stones at my then boyfriend and me, and ended with a bizarre and unsettling confrontation with a man who called us ‘ladies’ under his breath.

Over the years I have become accustomed to this kind of behaviour, but I came to realise it was a shocking concept to most of my friends and colleagues. It was in this context that I began to ponder the nature of these verbal attacks and their influence on my life. I realised that I felt differently about these experiences depending on my mental state so I decided to explore the way I was made to feel at the location where these incidents occur.

However, I did not feel it would be appropriate to equate my personal experience of verbal homophobic abuse with a death or fatal accident; I felt that planting a small unmarked living plant at the site would correspond with the nature of the abuse: A plant continues to grow as I do through my experience. Placing a live plant felt like a positive action, it was a comment on the abuse; a potential ‘remedy’. 

The species of plant was of course vitally important and the pansy instantly seemed perfect. Not only does the word refer to an effeminate or gay man: The name of the flower originates from the French verb; penser (to think), as the bowing head of the flower was seen to visually echo a person in deep thought. The subtlety and elegiac quality of the flower was ideal for my requirements. The action of planting reinforced these qualities, as kneeling in the street and digging in the often neglected hedgerows felt like a sorrowful act.”

During the twentieth year of The Pansy Project Harfleet will continue to reflect on their memories of two decades of planting pansies at sites of homophobia, above and here. Joey Orr conducted an in depth interview for Antennae; The Journal of Nature and Visual Culture in 2020 and can be read here.

Explore the publications The Pansy Project has appeared in since 2005, here. In 2024 The Pansy Project featured in Rebel Garden an exhibition at Musea Brugge, Belgium, part of the Triënnale Brugge 2024, the work also appeared in the catalogue. Explore other exhibitions here.