Dear flower lover Reader

I’ve never been very drawn to setting goals for a new year. Goals can feel rigid to me as they are often too focused on arrival points. Instead, I prefer to set intentions and to loosely define the scope of what I want to explore, leaving room for curiosity, shifts, and unexpected turns.

For 2026, that scope feels clear. Flowers and the language they carry remain the foundation of my art practice. Creativity and exploration, rather than outcomes, will be the guide: a way of staying attentive, curious, responsive, and open as the year unfolds.

Flowers as Foundation

Floriography remains the core of my practice. Not as a fixed system of meanings, but as a living language shaped by seasonality, attention, and personal experience. This year, this exploration will take several interconnected forms:

• I’ll continue exploring flower seasonality through my monthly and seasonal flower guides. These guides help me stay in conversation with the year as it unfolds, noticing what blooms quietly, what resists the cold, and what arrives only briefly before disappearing again.

• In parallel, I’m beginning a year-long project that feels especially meaningful to me: my Orchid Journal. This will be a slow and attentive exploration of flower personality, symbolism, and personal resonance, returning to orchids again and again across the seasons. Rather than seeking definitive meanings, I want to observe how relationships with a flower deepen over time.

• I’ll also be taking part in the 100-Day Project, centered around imaginary flowers. This project will give me space to step away from accuracy and tradition, and to work instead with intuition, invention, and emotion. More details will come when the project finds its own shape.

Exploration as Guide

Alongside my flower-led projects, I’m intentionally making space for experimenting with new techniques. Not as a shift in subject, but as a way of expanding how I speak visually about flowers. In 2026, I want to deepen two supporting practices:

• The first is calligraphy. I enjoy my own handwriting, but I’m drawn to broadening my repertoire of lettering. Exploring different rhythms, weights, and styles so words can become marks, textures, and decorative elements within my pages. In this sense, lettering feels less like writing and more like drawing.

• The second is learning to draw faces. This isn’t a move toward portraiture as a standalone theme, but an exploration of presence and relationship. I’ve long been fascinated by the idea of portraying faces through flowers, letting botanical forms carry emotion, identity, and meaning within the human silhouette.

While these practices aren’t directly part of floriography, they quietly enrich it. They widen my visual language, support future flower-based ideas, and strengthen the structure beneath the work. Flowers remain the subject, while techniques quietly hold and expand my practice.

Tell me, when it comes to creativity, where do you feel most drawn right now? Staying with one flower Learning new ways to express it Experimenting without naming it yet

My intention for the year ahead is simple: to move slowly, stay curious, and let structure and spontaneity coexist. Some paths will be clear; others will reveal themselves only through making.

Thank you for being here, for reading, and for sharing this season of looking, making, and listening. If something in this letter resonates, you’re always welcome to reply. I love knowing what’s taking root in your own creative practice.

With care,