Fleur

Fleur begins with needlepoint, a technique where remarkably complex decoration grows from the simplest of grids. Each stitch occupies its allotted space, yet together they can create flowers, borders and elaborate repeats with a freedom that seems at odds with such strict construction.

There is an obvious kinship with mosaic. Both build an image incrementally, relying on small units of colour to suggest forms that those individual pieces could never achieve alone. Moving between the two feels less like imitation and more like translation.

Scale makes that translation more interesting. Needlepoint is traditionally intimate, its detail appreciated at close quarters. Fleur takes that familiar language and enlarges it considerably. The tiny floral repeat becomes a broad decorative field, shifting from the domestic world of embroidery towards something much more graphic.

The floral reference remains deliberately uncomplicated. There is something appealing about the directness of folk and needlework flowers. They do not need botanical accuracy to be recognisable. A few carefully placed marks are enough.

Fleur retains that economy while changing its context completely. Thread becomes mosaic, stitches become blocks of colour and something associated with the scale of the hand grows far beyond it. The pleasure lies in recognising where the pattern came from while seeing just how comfortably it has moved somewhere new.

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