Rain Machine (Daisy Waterfall), 1970-71, remains one of Andy Warhol’s least known and, largely most under-appreciated of his art works... As a Grand Machine of Tomfoolery, it places Andy Warhol in a long line of artists who endeavour to re-create the dramaturgy of Nature, through the most artificial of means, and most appropriately by the most simple-minded of means. Andy like his predecessors in the procession made their art works, not to hang on gallery walls or in the temples of religion or academe, but rather in the most absurd and base of locales: the garden, the grotto, and the theatre.
Just as he had diminished corporate America through the domestication of its consumer products, in Daisy Waterfall, Andy Warhol turns the torrents of baroque theatrical spectacle and eighteenth century garden follies of Vaux-le-Vicomte into the daily pleasure of a good shower. As he had taken his seminal Flower paintings through every possible size and colour permutation in order to suite the fashion sense and pocketbook of his costumers, in this very special sculpture, he once again takes the garden the home (or terrarium) environment for us to experience. yet in this instance, he not the viewer is the one who gives it a good sprinkle. he, as the consummate master of the stage, manoeuvres us to his own tempo.
-Tomas Sokolowski, October 2008.