In my work, flowers are not rendered, they are constructed.
Reimagined not through petals and stems, but through angles, proportions, and a logic of form. Geometry becomes a lens through which the organic world is parsed, remembered, and reassembled.
In this translation, the flower is not lost, it is distilled.

The Quadriflowers Collection is the result of this distillation. Not a study of flowers as they are, but as they might be, when transposed through memory, abstraction, and geometry.

It is a study in tension: between nature and structure, softness and sharpness, emotion and abstraction. Each piece reimagines the form of a flower, not as a literal botanical study, but as a constructed object made of nested squares, directional symmetry, and color as temperature.

Through this visual language, familiar blooms like cheery blossoms, daffodils, and violets are reduced and rebuilt, petals become planes, stems become vectors, and the organic gives way to the architectural. But in this deconstruction, something surprising happens: the emotional resonance remains. Fragility, lightness, emergence, and even melancholy rise through the rigid geometry like scent through air.

Each painting invites a pause: to read the rhythm of repetition, to sense the season hidden in the angles, and to experience how logic can hold space for feeling.

These are not flowers as we see them, they are flowers as we remember them, dream them, or build them anew.