This work belongs to my series Cracks in My Flowers. I depict a nude figure standing in profile, her body turned toward the viewer while her face is withheld, set against a dense tapestry of peonies, tulips, and poppies that glow like an old master's still-life rescued from shadow. I treat the surface with cracks, dust, and patina, so that the image feels less like a photograph and more like a painting slowly surrendering to time.
I draw a single sweeping stroke of deep crimson acrylic—hand-painted and scanned into the composition—across her eyes. I want this gesture to act as both blindfold and erasure: it denies the gaze, protects her interiority, and introduces a raw, physical rupture into the dreamlike scene. It is the precise point where my painting and my photography collide.
Drawing on the tradition of memento mori and Baroque botanical painting, I meditate on concealment, desire, and impermanence. I see the figure and the flowers as bound by the same fate: fully alive, yet already beginning to fade. Through the union of digitally treated photography and physical painted intervention, I search for a fragile threshold between the analog and the digital, the body and the bloom, revelation and silence.
Limited-edition fine-art photographic print on matte acrylic glass (60 × 80 cm), produced with UltraResolution on Fuji Crystal Archive paper, framed in a gold Slimline profile with a metal suspension system.
