Flowers are used to express emotion, and to express the cultivation of perfection. A flower is the signifer of all important moments in life, of birth, love and death, they are the objects through which we express ourselves. We copy flower and plant images onto the objects we use and with which we surround ourselves in millions of ways, to project beauty into our environment. We exploit the noble reputation of ‘nature’ in order to guarantee aesthetic quality. We are all born in a designed world, and we implement nature in design. Life withers. Nothing ever stays the same. I’m frustrated with the cultivation of perfection, I want to destroy it before it’s gone in order to save a trace, capturing the imprint of life as a way of preserving it. Withering flowers have been used in still lives as representations of human withering. The temporality of the blooms leaves an imprint, stains, irrational traces, separating the pure from the impure. Nature stains human culture with its embellishments. Using the flower as the subject changes an object. The motifs of patterns come and go depending on the seasons, but rather than being influenced by the flowers, they are determined by our taste. Flowers are ornaments in heat. I find that an imprint and a cast from the shape is the best ways to keep the flower’s impression, as a residue of life. The research of this project involved the use of flowers and man-made materials of existing flower prints, combining them to reflect the true essence of flowers. By extracting the juice, colour, matter and shape from the real flowers. The stronger the constructions of the technique were, like hammering or stitching, the stronger the flower showed its essence. The desire for capturing and preserving life by extracting life into our wallpapers, fabrics, flower holders and into our beds.