My sculptural background makes me think in volumes and negative space — stems become armatures, blooms are the points of tension, foliage the sweeping planes that hold everything together. Each piece is an experiment: I never make the same thing twice, so every arrangement is composed with fresh rules and a new risk. Every stem earns its spot on the workbench—no wallflowers allowed—placed to balance weight, line, and surprise. The result reads like a sculpture you can breathe in: intentional, unexpected, and alive.