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 Floral Frames evolves through a cycle of analog and digital drawing, repeated across successive iterations, adding new layers of ornament until the deserted frame’s floral overgrowth takes over the void entirely. By contrast, the Oval Frame masquerades as a delicate arrangement of pearl strings, its ornamental composition concealing bombs, tanks, and hand grenades.