This painting began as an abstract — patterns and colours were used to create a landscape. I then reworked it into an abstract still life with flowers, using negative space as the guiding principle. Instead of describing every detail, I let the empty areas define the forms: the gaps become petals, stems, and vase edges. The composition shifts from outward space to intimate objects by simplifying shapes and focusing on the relationships between filled and unfilled areas.
Working with negative space forces attention to silhouette, proportion, and rhythm. Patterns emerge as overlapping shapes interact, and colour choices turn implied forms into recognisable motifs. The result is a conversation between what is present and what is omitted — a painting that reads both as echo of a landscape and as an abstract bouquet.
This painting began as an abstract — patterns and colours were used to create a landscape. I then reworked it into an abstract still life with flowers, using negative space as the guiding principle. Instead of describing every detail, I let the empty areas define the forms: the gaps become petals, stems, and vase edges. The composition shifts from outward space to intimate objects by simplifying shapes and focusing on the relationships between filled and unfilled areas.
Working with negative space forces attention to silhouette, proportion, and rhythm. Patterns emerge as overlapping shapes interact, and colour choices turn implied forms into recognisable motifs. The result is a conversation between what is present and what is omitted — a painting that reads both as echo of a landscape and as an abstract bouquet.