Flower of Hope reads like a diagram of growth made lyrical through marble. Five sweeping arms rise from a rooted base, each beginning as a modest curve and expanding outward with greater breadth, like sequential stages of unfolding.
The flower placed at the foot of these arcs is not decorative; it is the point of origin. Its rounded petals act as the sculpture’s nucleus, from which the ascending lines appear to spring. This interplay between radial and vertical movement creates a composition that is simultaneously anchored and expanding.
The marble itself contributes an intriguing duality. Fine grey veining runs along the flows of the form, giving the impression of internal channels- almost like the vascular system of a living organism. The stone’s polished skin suggests fluidity, while its mass reminds the viewer of the permanence that underlies all natural cycles.
What stands out is the sculpture’s sense of structure: it resembles a botanical form translated into abstraction, where each curve corresponds to an unseen law of growth. The work does not illustrate a flower; it reveals the forces that make a flower possible.
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