“Violet” emerged from the urge to return to floral motifs without stepping outside my own visual language. At that point, works like “Orchidea,” “Poppy,” and “Mushrooms” had already begun to outline a direction in which natural forms are not merely decorative, but carry their own tension.
This piece wasn’t a calculated step forward, but rather a quieter impulse—an opportunity to revisit something that appears familiar at first glance. That familiarity, however, is exactly where the interest lies. The shape of the flower once again exists on a boundary where aesthetics and subtle discomfort coexist without canceling each other out.
What draws me to these motifs is not the depiction of flora itself, but the proximity between nature and physicality. The way forms repeat, the way something initially perceived as “beautiful” reveals a second layer the longer you engage with it.
“Violet” is not a central piece within my body of work, but rather a recurring point of return—a reminder that this visual language doesn’t need to be forced, but unfolds naturally when given space.
Violet Original
This original drawing was created on high-quality white Bristol drawing paper by Boesner with a grammage of 205 g/m², acid-free and PEFC-certified.
Only graphite pencils were used for this drawing, which has been fixed using Lukas fixative. Please do not touch the drawing with your bare hands, as there is a risk of smudging despite the fixative.
You will also receive a certificate of authenticity with the title of the drawing. When choosing your frame, make sure that the glass has UV protection. Your local art supply store will be happy to advise you.