For José Ortega y Gasset, the relationship between painting and frame wasn’t accidental but essential – “like the torso and the head.” Yet he noted that the frame is usually forgotten: “Try recalling the paintings you know best,” he suggests, “and you’ll find you can’t remember the frames.” This series builds on that contradiction, positioning the frame not as a byproduct but as the work of art itself. Each version of the Floral Frames evolves through a cycle of analog and digital drawing, repeated across successive iterations, adding new layers of ornament until the image reaches its final state. By contrast, the Oval Frame assumes the guise of a delicate construction of pearl strings, yet a closer look reveals its architecture of bombs, tanks, and hand grenades.