With Floral Glamourism, I have developed a floral art series in which blossoms do not appear decorative, but rather as carriers of emotion, symbolism, and inner movement. Floral art has accompanied art history for centuries. However, my Floral Glamourism series is not about decorative flower paintings. It is about modern floral art, about abstract floral painting, about blossoms as carriers of meaning. Inspired by Art Deco, Asian art, ornaments, and a timeless aesthetic, works emerge in which floral forms become symbols of inner and cosmic forces. I am not interested in classic floral still lifes, but in modern floral painting that combines reduction, abstraction, and feeling.
Floral Glamourism is my contemporary floral art series, where abstract floral motifs, Art Deco elements, and hand-finished metallic accents merge into emotional art with depth and meaning.
The impulse for this series came after my trip to China. My encounter with Asian art – especially ink drawings – deeply moved me. Stillness. Reduction. Space. The conscious omission to reveal something essential. This experience led me to search for a new, personal artistic language.
I began to see blossoms not as objects, but as states. As moments between emergence and decay. Between tension and release. Between presence and memory. The floral forms in my paintings are not pure depictions of nature, but condensations of feeling.
Just as my women's portraits are never merely beautiful faces, but make emotions visible, these blossoms are not decorative elements. They stand for growth, transformation, and a delicate but powerful form of elegance. For me, Floral Glamourism is an extension of my previous work – a new language that is still emerging, to express the same themes of sensuality, depth, and inner movement.
1. Floral Glamourism – A New Language Alongside Feminine Glamourism and Flowism
Actually, my fascination with nature has always been there.
In my paintings, in my thoughts, in these paradisiacal gardens where my women stand, rest, or lose themselves. The longer I painted these women, the stronger a quiet longing became: to show the connection to nature not just as a background, but to give it more space. To let it speak.
Then, in the summer of 2025, a moment came that changed things.
A client asked me to paint an additional work – with white lilies – to a painting of a woman she had already purchased. To be honest, I was unsure. Still lifes had not been part of my world before. No woman, no sensual gaze, no body language. Just a flower. Would that work?
Nevertheless, I agreed.
And something happened that I hadn't expected: This first floral commissioned work deeply moved me. Suddenly, a new question arose that wouldn't let go of me: Can flowers carry emotions – just like my women? And if so, what visual language is needed for that?
Thus began my search.
For forms, for new techniques, for new inspirations, for reduction, for stillness. My trip to China greatly deepened this process. The encounter with Asian art, with strong colors, with gold, rhythm, and ornamentation showed me a lot. More than a hundred years ago, Asian art already influenced Art Deco – that aesthetic which I love so much. Suddenly, everything felt connected.
Floral Glamourism emerged from this. Not as a break, but as a natural extension of Feminine Glamourism and Flowism.
The same sensuality. The same depth. The same feminine elegance.
2. Blossoms as Symbols: Growth, Transformation, Presence
Flowers are often quickly pigeonholed.
Too decorative. Too lovely. Too romantic.
And yes – blossoms are romantic. But they are much more than that.
The deeper I engaged with them, the clearer it became to me: The blossom is one of the strongest symbols of all. It stands not only for beauty, but for transformation. For that one moment where everything comes together – strength, maturity, vulnerability. A blossom does not appear by chance. It is the result of a long inner process.
It is precisely this moment between becoming and passing that touches me.
The flower is open, present, visible – and at the same time one knows: This state is not eternal. Perhaps that is precisely its quiet power. It is simply there. Whole. Ephemeral. Beautiful. And precisely because of that, so intense.
In my work with floral motifs, I am not concerned with botanical accuracy. I do not paint plant portraits. I paint states. Inner movements. Transitions. The blossoms become carriers of something deeper – similar to my female figures. They too often stand at thresholds: between strength and vulnerability, presence and distance.
What particularly fascinates me is the enormous symbolic power of flowers in various cultures. For millennia, they have stood for declarations of love, joy, sorrow, purity, or friendship. Magical, protective, or transformative powers are attributed to them. They are associated with zodiac signs, part of rituals, signs of power and dignity. Whether in Western traditions, Buddhism, Islam, or ancient nature cultures – flowers constantly reappear as a universal language of the invisible.
Discovering this variety of meanings feels like a great enrichment to me. And I am very happy to continue this journey with my paintings – and to let you be a part of it.
Especially today, this symbolism seems particularly important to me.
In times of uncertainty, acceleration, and constant overstimulation, many people long for more beauty. For a deeper connection to nature. And to those inner forces that make growth and transformation possible in the first place.
A blossom can be exactly that:
A beautiful sign of presence.
Of inner growth.
And of beauty that is simply enchanting.
3. Gold, Metal, and Light – Why Shine Bears Meaning Here
Shine has a long, ambivalent role in art history. It can seduce, adorn, symbolize wealth and perfect beauty. At the same time, for centuries, gold stood for something much deeper: for perfection, insight, and inner maturity.
In alchemical symbolism, gold is considered the highest goal – not only materially, but spiritually. The idea of transforming base matter into gold has always also been a metaphor for human growth: for transformation, awareness, and the unification of spirit, soul, and body. These thoughts deeply move me – and they naturally integrate into Floral Glamourism.
When I work with metallic materials – in gold, copper, or silver optics, occasionally with real gold – I experience how vibrant these surfaces are. They react to their surroundings. Colors, light, and movement are reflected in them. Depending on the viewing angle, the image changes. It does not remain static, but enters into a relationship with the space. For me, this is a very sensual, almost dialogical moment in the painting process.
Technically, these works are created using a multilayered, elaborate craftsmanship process. Acrylic paints are built up layer by layer, opened with squeegee techniques, condensed again, structured by graphic lines. In a later step, metallic leaf applications and finely dosed glitter particles are incorporated by hand. Nothing is prefabricated. Each work is unique, entirely handmade, and singular in its inner structure.
I am particularly interested in the interplay of matte surfaces and reflective light. The metal does not dominate – it integrates. It absorbs the surrounding colors, intensifies them, or makes them recede. Especially in combination with the delicate floral forms, a tension arises between transience and something timeless. Between the visible – and what only appears in the light.
4. Between Control and Chance – The Painting Process
This series challenges me in a very special way.
I am someone who likes to plan. Who loves structures. Who prepares images internally for a long time before the first paint application. Floral Glamourism has invited me to take a step back precisely there – and to allow more chance into my work than I usually do.
No painting in this series is created in one go.
The process is slow, multilayered, and sometimes contradictory – and that is precisely what makes it so vibrant for me. I start with a vague idea: with color spaces, lines, an inner order. But it always turns out differently than planned – each painting develops according to its own laws. Thus, I experience that I cannot control everything, and that is a good thing. And slowly, I no longer feel this as a loss, but as a liberation.
An important tool in this is the squeegee. It literally forces me to switch off my mind. Surfaces open up, colors shift, transitions arise that I would never have planned. The squeegee takes away my control – and gives me surprise. Colors react to each other, repel each other, reconnect. I watch and learn not to intervene.
Working in layers is essential. Each layer is a decision, even if it is barely visible later. Some traces remain open, others disappear under new color spaces. And yet they are there. They carry the painting. Just like in life: Not everything that has shaped us is visible – but everything has an effect.
There is always that one moment in the process that I particularly love. When I feel that a painting no longer wants to be "made." That it's time to let go. I mentally step back, observe, listen. Not a dramatic act. More a quiet agreement.
Perhaps this way of working touches me so much because it reflects something essential to me:
We plan. We control. We do our best.
And then comes the point where growth is only possible if we allow trust. It is so important to be aware of this in daily life as well.
Floral Glamourism is exactly that for me.
An exercise in allowing. In trusting.
And in the experience that where control ends, something surprisingly magical often begins.
5. Cosmic Forces and Secret Gardens – When Nature Becomes More Than Form
A part of the works from Floral Glamourism deliberately leads into stillness.
For example, as in the black and white works, in series like "White Matter," "Stellar Silence," or "Quiet Matter," the blossom almost becomes a trace. A line in space. Something that is no longer clearly nature – and also not yet quite cosmos.
This transition fascinates me.
When a delicate floral form suddenly reminds one of star formations. When light surfaces appear like matter collecting itself. Here the view widens. The flower loses its grounding – and opens up a space larger than itself. Micro and macro begin to touch. The small refers to the large. The ephemeral to something timeless.
These images are very still. They invite you to look slower. Perhaps even to pause briefly. For me, they are like a breath between two movements. A reminder that we are part of something larger – without the need for words.
Then, within the series, there is another direction that is very dear to my heart: "Secret Gardens – Inner Landscapes."
Here, the outer cosmos is not in the foreground, but the inner. Nature is abstracted, condensed, sometimes almost dissolved. Image spaces are created that lead less outward than inward. Places that one does not enter, but feels.
These secret gardens are not real landscapes. They are emotional spaces. Retreats. Inner fields where color, structure, and rhythm speak to each other. Without clear boundaries.
Both directions – cosmic stillness and inner gardens – are inextricably linked for me. They show different sides of the same longing:
For expanse. And for depth. For eternity.
6. Floral Glamourism in the Room – Effect on Interior
Art only fully unfolds its effect within a space.
Especially floral art possesses a special ability to change atmosphere. In Floral Glamourism, I combine this effect with the elegance of Art Deco, with graphic clarity, noble materials, and a timeless aesthetic. This makes these works particularly suitable for sophisticated interiors.
In the living room, the pictures act as a calm focal point. They don't push themselves into the foreground but create depth. Floral forms bring nature into the room without merely being decorative. In combination with clean lines, high-quality furniture, or Art Deco elements, an exciting contrast of softness and structure emerges. The room gains tranquility – and at the same time, character.
In practices or high-quality work environments, the works unfold an almost meditative quality. The abstracted blossoms, the reduced color fields, and the subtle metallic accents have a calming effect without being cold. Especially where people wait, reflect, or want to relax, floral art can create a supportive, trusting atmosphere.
Also in boutique hotels or exclusive guest rooms, Floral Glamourism fits in particularly harmoniously. The mixture of nature, abstraction, and noble shine gives rooms an exotic touch – without being intrusive. The pictures speak of style, sensuality, and elegance.
Compared to my women's portraits, which often have a very direct presence, the floral works appear more subtle. They don't speak through eye contact, but through mood. Not through posture, but through space. Precisely therein lies their strength in interior design: They leave room. For the space. And for the person who inhabits it.
7. For Whom This Series Was Created
Floral Glamourism was created for people who look deeper than just the surface. For those who understand aesthetics not as decoration, but as an expression of an inner attitude. For people who feel that pictures can change spaces – and set something in motion that cannot always be put into words. Perhaps a glow. Perhaps a calm. Perhaps a quiet recognition.
This contemporary floral art is also deliberately aimed at people who appreciate craftsmanship. In an age where mass-produced goods are ubiquitous and artificial images are created in seconds, the visible aspect of artistic work is particularly important to me. The traces of the hand. The layers. The decisions. The small irregularities that show: This work has grown. It was experienced, not generated.
It is aimed at collectors who take their time. Who do not buy based on trends, but on resonance. Who enjoy discovering works that speak to them and accompany them for a long time. Floral motifs here are not a quick eye-catcher, but an invitation to linger. To revisit. To slowly recognize.
Likewise, this series is intended for connoisseurs. For people who appreciate quality – in life, in living, in everyday life. Who do not confuse sensuality with loudness. For them, these works are like a silent luxury: present, but not obtrusive. Elegant, without being cold. An interplay of nature, structure, and light.
Particularly close to my heart is a group of people who are in times of upheaval. Phases in which something is dissolving, reorganizing, or does not yet have a name. Precisely then, the need often arises for images that provide support without holding on. For art that leaves space – for thoughts, feelings, new perspectives.
I would be happy if Floral Glamourism contributes precisely to this:
As a companion. As a source of energy.
As a place where inner light and inner glow can be felt again.
👉 More on this:
➤ To the article: "Neo Deco – The New Elegance Between Art, Space, and Time"
➤ To the article: "Modern Flower Paintings for the Living Room"
8. Discover Originals – Experience Floral Glamourism
Floral Glamourism is deliberately designed as an open series. I have many ideas for new motifs – and I already notice how much this visual language carries me. Each work is created as a hand-painted original painting: multilayered, hand-finished, and unique in its effect. The paintings have a tangible texture – you can literally "feel" the structures with your eyes. This is precisely something that only an original can achieve. In this depth, the works cannot simply be reproduced.
When you choose a work from this series, you are choosing more than just a painting. You are bringing a glamorous companion into your space – a visual anchor that reveals new nuances depending on the light and time of day. I myself notice how much joy these works bring me. It is all the more beautiful to share this joy.
The current works of Floral Glamourism will soon be available in my Online Gallery as well as in selected curated presentations. I would be happy to advise you personally on your selection – also with regard to space, light, and atmosphere.
👉 Commissioned art is also possible.
Whether larger formats, a specific color scheme, or an exclusive work with special metallic accents – and, if desired, with real gold leaf – I accompany the process very individually. The floral visual language is particularly well suited for customized works, for example for living rooms, practices, or boutique hotels.
If you are curious, I invite you:
Take your time. Look calmly. Feel it.
Write to me for a non-binding consultation:
info@ekaterina-more.com
9. FAQ - Frequently Asked Questions about Floral Glamourism
What exactly does "Floral Glamourism" mean?
Floral Glamourism combines floral motifs with abstract painting, Art Deco elements, and elegant metallic accents. The flower becomes a symbol for inner states, change, and presence – not merely decoration.
Are the works original paintings and unique pieces?
All works from the series are exclusive hand-painted originals.
What technique is used?
The works are created using multi-layered acrylic painting with squeegee techniques, graphic lines, and metallic leaf embellishments (leaf metal in gold or silver optics).
Can I purchase a work online?
Yes. Selected works are available directly through my gallery or galleries representing my art.
Is commissioned art possible?
Yes. I also create individual commissioned paintings, gladly in larger formats or tailored to a specific space.
Are the works suitable for business or hotel premises?
Very much so. Floral Glamourism develops a calm, elegant effect particularly in high-quality living and business premises, practices, and boutique hotels.
How do I find the right work for my space?
I am happy to advise you personally – by email or in a conversation.
