Contemporary Flower Reading asks what it means to look at flowers not as decoration but as subjects with their own emotional logic — compressed together in an arrangement, forced into proximity, each bloom negotiating its place against the others.

Charcoal establishes the first marks — skeletal, structural — then paint builds around and over them. Charcoal returns again after the paint dries, reiterating, adjusting, the line reinventing itself through each layer. The result is a surface that holds the evidence of every stage of that process.