The seed of this series was planted in my drawing classes at the beginning of my architecture degree. The proposal from the course to draw without looking aimed to exercise the eye as the first link in the chain of creation. We drew with a live model, and the female figure changed positions increasingly quickly, forcing us to capture the essentials and key details in a short amount of time. The results surprised me with their freshness, authenticity, and vitality. A genuine, vigorous, pure line emerged. Alive. Years later, immersed in Zenga practice, my Sensei introduced me to the work of Frederick Franck, whom I began to explore deeply through his books "Zen Seeing, Zen Drawing," and "The Awakened Eye." Franck taught a technique similar to drawing without looking as a means to learn to see, a form of meditation and awakening. My Sensei presented it to me for its emphasis on the process rather than the result, and for how the act of drawing can be a practice of mindfulness and detachment, free from ego. Over the years, I turned to this technique to deepen my art of seeing and connect with the spirit of things, especially in nature. I also used it as training to refine techniques and explore compositions. With this approach, I primarily draw plants, flowers, insects, and birds in their natural surroundings, often doing so in moments of inner restlessness. This act connects me with the pulse of life and silence, distancing me from the distractions of my mind as I focus on what I decide to draw. The Ikebana series was born from my desire to return to the precision of drawing, to feel the sharpness of the pencil on paper. I wanted to study Ikebana compositions that resonated deeply with me, and I knew the best way to do so was by drawing them without looking at the result, fully focused on the model. At times, when I felt it necessary, I added subtle touches of color with watercolor, highlighting some detail of the arrangement, turning that study into a composition of my own.