In 2026, I find myself returning to florals, not as decoration but as a study in structure and movement.

I paint florals because they are almost absent from the concrete landscape I come from. In the marginalized, underserved areas of Houston, beauty like that is rare. These paintings become am escape, a moment of interruption in an environment that often lacks softness.

What draws me back to florals is their balance of control. They are structured and precise, yet constantly changing, opening, fading, and dying. I use bright colors and many times out of the tube.

My approach isn’t about literal representation. I work through abstraction and material, building and disrupting layers so the image emerges through texture and process rather than direct depiction. The surface carries the history, marks of time, movement, and change.

I’m interested in what exists beneath that familiarity of Florals. They become less about what they are and more about what they hold. I want them to hold bright bold colors.

For me, painting florals is a way to slow down and translate something fleeting into something that has weight, presence, and permanence.