This work began with a simple image: a crack in a wall where nature insists on growing. From that idea, I shaped a vase and flowers emerging from the fractures of plaster — not placed gently on a surface, but embedded into it, as if the wall itself were trying to bloom.
The piece takes inspiration from Van Gogh’s Irises, but instead of traditional paint and canvas, I chose epoxy and plaster. The materials shift the idea of the classical Natura Morta into something more physical, textured, and contemporary. The translucent properties of epoxy allow light to move through the petals and leaves, creating tones and contrasts that evolve depending on the angle and time of day.
I intentionally pushed the aesthetic toward something almost naive — as if a child had outlined the shapes with bold, uneven black lines. The composition feels restless: the stems twist upward, the shapes vibrate with movement, and the flowers carry a sense of urgency. They appear alive, animated, almost impatient — as if they are trying to grow beyond the boundaries that confine them.
Even though they are fixed inside the wall, the flowers suggest expansion, persistence, and resistance. They are fragile, yet determined — a reminder that life doesn’t simply occupy space; it pushes, insists, and continues.
At its core, the piece is about resilience — the way life continues to grow even in spaces not designed to contain or support it. The flowers embedded in plaster don’t simply decorate the surface; they challenge it. The wall becomes both a barrier and a birthplace. The flowers are confined, yet undeniably alive, expanding, insisting on existence.

96 x 45 x 5 cm
Plaster and epoxy, 2025.