For me, flowers are the most interesting and challenging subject in still life.

Here, imagination stretches far beyond its usual limits. In my view, the most important part of painting flowers is the preliminary work: first arranging the bouquet itself, then lighting it properly — and then the miracles begin. Plants and flowers contain endless angles, complex rhythms, intertwined forms, subtle color transitions, and rich relationships between color and texture. When the glass of the vase, water, light, and drapery are added, the composition becomes an iridescent kaleidoscope of color and pattern.

Without overthinking the process, simply applying lines, dabs, and varied brushstrokes, a seemingly chaotic mixture of color begins to form — while always keeping the study from nature in mind. Then, quite suddenly, the outlines of the painted bouquet begin to emerge from that chaos of many different elements. As a rule, it happens unexpectedly even to me. At that moment, you feel the flowers awaken — and this is what painting flowers is truly about.

I would call flower painting a miraculously intriguing and dazzling process. Although I am often not fully satisfied with the result, every time I return to this subject and try to reflect life through flowers, filling the canvas with the freshness of their breath, I feel immeasurable pleasure.

And because many admirers of my flower paintings especially appreciate this subject, it is twice as pleasurable for me to create work that resonates with them.