In The Flowers, I place artificial blossoms among real vegetation in a forest where I have been running for almost twenty years. At first glance, the artificial plants seem to belong there; they blend in, they imitate, they pretend to be natural.

But with a second look, the illusion begins to crack. Suddenly, small discrepancies appear: structures that are not organic, surfaces that are too smooth, details that could never occur in nature. And in that instant — the moment one recognizes the flower as artificial — the entire image shifts. A category collapses and is replaced by another.

This perceptual reversal is the core of the work: the brief moment in which familiarity dissolves and an uncanny space emerges. The Flowers plays with precisely this shift between perception and recognition.

The series explores how strongly our seeing is shaped by expectation — and how quickly an image changes once something no longer fits the category we assigned to it. By placing artificial flowers in a natural setting, the work creates a subtle tension between reality and illusion: an invitation to reconsider how we look, and how we classify what we see.