Semi-Abstract Floral Still Life: A Painting Inspired by Dutch Masters
This week, I want to show you a piece called Damask. It is a dark, semi-abstract floral painting. I often try to create lighter works because they sell faster, but if it were up to me, I would paint almost only dark pieces.
There is something valuable and very private about dark tones. The painting felt so private that I originally thought about just posting a photo of the finished work and keeping the process to myself. But the purpose of my blog is to inspire you to create. Seeing only the final result rarely inspires as much as seeing the imperfect beginning where everything started.
Inspired by Dutch Old Masters
My painting is about how ornaments can be traced back to nature, but it is also a tribute to 17th and 18th-century Dutch floral paintings. The concept – dark background, lots of details, beauty after beauty – doesn’t leave me alone – it is like a recurring fever.
>> See the blog post “Flower paintings at Rijksmuseum”
And there is only one cure: starting a new dark still life, without references, just by painting freely.
How to Start a Semi-Abstract Floral Painting
At first, I used a broad brush and painted simple shapes with different colors.
Then I decided what flower to enlarge and what to hide. Some flowers appeared, but then disappeared when the painting progressed. I like to think that some flowers are born just to give birth to other flowers.
Why Mastering Technique Is Never Enough
I have noticed technical progress in my work. As things get easier, I can set more challenging goals for myself. However, I don’t believe that art is just about mastering technique, or that painting flowers is only about using them as decoration.
When you start a new work, you create a space around you.
It is a private and special place.
While I was making this piece, I felt like I was in an old room. I could hear the wooden floor creak and the wind blowing behind the old window glass. And yet, I felt I was wealthy. I was far away in the past, but I didn’t feel homesick at all.
The longer I have made art, the clearer my vision has become. Intuitive work is not about copying an image from your mind. It is about your work and your imagination starting to share the same atmosphere.
Here you can see the painting in different stages. Some might please you more, but I was after the special place, remember.
Here’s the finished piece, ready to be photographed.
Your Intuition – Your Private Atmosphere
So, what matters is the atmosphere you want to build. This is why it doesn’t really matter if you paint flowers or faces. From this perspective, all art is abstract. It is not just about thinking of the composition as abstract —it is about the character of each detail and how it connects to your private place (that then opens up to the viewer, too).
Here are some detail pics of my semi-abstract floral painting called Damask.
Friends in Art
Art is a private experience. Through my online courses and videos, I am visiting your private space. I often imagine that we are visiting each other. When the lesson ends, we both return to our own worlds, feeling inspired. It is hard to grow—both technically and as an artist—if you always keep the door closed.
Welcome to my courses to improve your skills and your artistic thinking! If you need more inspiration, feel free to browse my blog archives by date, category, or supply. I have shared my journey here every week for over ten years.
Inside the Creative Process: Art, Words, and Morning Robes
I often find that the bridge between painting and words is a difficult one to cross – especially when your latest work decides to speak a language of its own.
Even though I’ve always loved writing, being a visual artist often brings moments inside the creative process where words simply disappear.
Lately, I’ve been painting a lot. The more I paint, the harder it feels to write all those applications and descriptions that an artist is constantly expected to produce. It’s just as difficult to read what other artists write about their work—and even harder to read a critic’s take on anyone’s paintings.
It feels like words just bounce off the surface of a painting without ever sinking in. When you paint, you are inside the artwork, living between wordless layers. It’s a good place to be. At least until you make the mistake of asking yourself: “Hey, what exactly are you painting right now? Tell the camera! Write it down! Share it with the world!”
When that happens, my confident grip on the brush vanishes, and I start to stutter: “I’m just… putting some green here… and a little bit of red. Just a tiny bit …”
Inside the Creative Process: When the Painting Speaks First
As a painting gets closer to being finished, the words come more easily. Or rather, it feels like I don’t have to go looking for them because the painting has something to say for itself. Even though I don’t speak French, I feel like my latest work speaks the language. I call her Boheme. She is like a woman opening her front door in a morning robe, with everything in her life a bit scattered and messy.
In my own life, I think I’ve only opened the door in a morning robe once when a surprise package arrived. Back then, the postman certainly didn’t see a mess behind me — everything was in its place. So, it’s a mystery why this opposite creature appeared on my canvas. I knew from the start that I couldn’t control her with a heavy hand. Not because Boheme would be afraid of orders, but because I have no desire to fight that kind of energy. I’d rather let her grow, be free, and express her own kind of beauty.
Dreams I Didn’t Know I Had
Maybe that’s where the conflict lies. My own world is small, and I find myself quite uninteresting as a person. Yet, my paintings reach further and bring out things I didn’t even realize I was thinking about. That’s my favorite part of this job—seeing your dreams come true, especially the dreams you didn’t even remember having.
Despite all this “unconsciousness,” it’s still good to recognize the words, music, scents, and moods that belong to your artistic vision.
Finding the Right Mood
A few weeks ago, my husband told me about a record review he had read. He hadn’t heard the album yet, but the description stuck with him. Just from his brief explanation, I got a strong feeling it could be interesting for my art. We searched for the article to find the singer’s name. It was the album LUX by the Spanish artist Rosalía, and it felt familiar from the very first notes. I love her track Bergheim. It mixes different styles with classical music, creating a luxurious, grand, and slightly mystical atmosphere.
Boheme and I have been listening to the song together. Through her, I’ve realized that when it comes to morning robes, the mint-green terry cloth one my mother once bought me has nothing to do with the luxurious creations Boheme has in her closet. And those are the kind of closets you actually want to leave open when you answer the door.
And that’s the true beauty of art: it always gives you a better view.
The annual major painting event, the Sales Event of the Finnish Painters’ Union, takes place in March at the Cable Factory, Helsinki. I am participating in the event with this painting, along with a few others.
Video: Artist’s Life and Inner Inspiration
This week, I made a video blog post where I share what I have been working on lately. This watercolor piece is one of them.
In the video, I also talk about the inner inspiration – that not everything has to come from outside, but there’s a lot within our inner world already.
You get to see my planner for 2026, which is also my art journal. It’s a notebook that has pictures of Jasmine Becket-Griffith‘s art.
Artist’s Life and Inner Inspiration – Watch the Video!
My favorite topics – flowers, watercolors, colored pencils, and abstracts – are all covered in this video.
In the last part of the video, I share my joy about the newest course, Mystical Minis – abstract art with colored pencils – Buy Now!
About Music and Painting
This week, I share a painting that had a big goal: to achieve a similar effect to uplifting music.
I think that all painters envy musicians because music can make great emotions flow in an instant. Music can make us feel that the world is expanding into the universe and at the same time, shrinking to the size of a heart.
When I listen to Luciano Pavarotti sing Nessun Dorma, his complete self-confidence makes me, who is a mere listener, feel almighty too. And Avicii’s Levels is often my choice when I want to celebrate an achievement, for example, a newly completed painting.
But even if we painters envy musicians, I also think that musicians also envy painters. Music is experienced in a fleeting moment, but a painting can capture that more permanently.
Music I Listen to While Painting
When I start a new painting, I often listen to Kaija Saariaho‘s music. It is art music, and I don’t find it entertaining at all. But it helps me to think more spatially and paint a 3-dimensional space instead of a 2-dimensional surface. (See the video of my first encounter to Kaija Saariaho’s music from 2015!)
I try to avoid letting the music leak ideas into my paintings. I don’t want the music to create the illusion that the unfinished painting is better than it is. The music’ should mainly’s main function is to entertain my impatient side while my patient side paints.
As the painting progresses, I gradually move to lighter music. First classical piano and violin concerts, then entertaining music television shows that play pop and rock.
When the painting is in the finishing stage, I listen to dry talk programs such as political analysis.
Music helps me to keep going. It takes many sessions to finish a big painting.
I painted this painting in 7 parts and as you can see from the pictures, it changed quite a lot over the months. I started in early August and the painting was finished in late November.
My painting called Cosmos is a flower arrangement, but at the same time, I was aiming for much more. I wanted to express both meanings of the word cosmos – both the flower and the universe. So I was aiming for the same thing that music can give: the expansion into a larger whole and the contraction into a single moment.
Details of Cosmos
The blue flower was the most difficult to paint because I wanted it to be modest and small and still refer to the universe. It had to be simple and delicate, but still strong enough. I rarely use Cobalt Blue this much. It’s my most expensive pigment and not very good with historical pigments that I mostly have. But in this piece, I think it perfectly represents the universe.
One of my favorite details is the flying orange petals. I think they look like a little melody playing in the background as the song slows down.
Some areas come more easily than others. The top right corner was finished early, and it was a lot of fun to paint. I prefer dark backgrounds over light ones, but dark paintings can be difficult to sell, so I try to be moderate with dark colors.
The red spot is both a supernova and a flower.
I love painting bowls and vases, especially when I can just freely compose them from strokes and shapes.
I also love to paint water. Here, the vase disappears under the waterline.
I often paint a flower so that it’s partly quite sharp and partly blurry or invisible.
Music can use echoes as an effect, while visuals can have mirror images. The echoes and mirror images can differ slightly. I played with this idea when painting the red flower and its dark echo.
Ornaments and ornamental strokes inspire me a lot. I think that when you have found out how you want to draw a single line, you are really close to finding your style.
Lines are like musical notes that a mind can interpret and sing. They have the painter’s voice.
What kind of music do you listen to when you paint or draw?