Reflection on What Stands Behind the Flowers May 11 - September 27, 2025 MoMA

When I visited Hilma af Klint: What Stands Behind the Flowers in September, I felt an immediate resonance with her shift toward observing and studying the natural world. Seeing her botanical drawings—so precise, attentive, and yet quietly charged with spiritual intention—reminded me of why I return again and again to natural forms in my own work. Like af Klint, I’m drawn to the meeting point between what can be seen and what can only be sensed.

I returned from Devon feeling renewed, carrying the green hills and orchards with me—the sound of owls at night and the faint scent of woodsmoke lingering on my sweater. The Lessons in Listening residency with the Land Art Agency arrived at the perfect moment, each day shaped by the hills, the wind, and conversations that stretched beyond words. I’m also deeply grateful to On The Hill for their community farm and creative spaces.

Gyotaku resonates deeply with me because it merges my love of printmaking and nature. There’s no tool between artist and subject—you work directly with the fish, seaweed, or plant—so the process becomes tactile, intimate, and contemplative. Each print carries with it the essence of place: the sweet scent of woodruff in spring, pine needles in winter, the salt of the sea from lobster and seaweed, or the sharpness of a freshwater catch.