Each piece is modular, designed to stand alone or be shown in pairs or larger groupings. Together, they create systems of order: colour charts, swatches, samples, and grids. These structures reference the way humans have historically tried to organise nature, from botanical classification to the flower industry itself, reducing living, changing forms into controlled palettes and uniform products.

Within each grouping is at least one panel that retains a small section of untouched pressed flowers. These natural elements will inevitably fade and brown over time. Surrounding them are repeated synthetic or oversprayed panels that are fixed, uniform, and permanent. They act as colour memory rather than colour truth.

By overspraying flowers with layers of acrylic paint, the work becomes a kind of recipe for synthesising nature, blurring the line between what is real and what is manufactured. The repetition and flatness of colours reference industrial processes, while the flowers resist full control through their texture, irregularity, and natural change.

Ultimately, the work exposes our fixation on permanence, uniformity, and the artificial reproduction of the natural world.