Maria (1987) wants to bring real, timeless beauty to everyday life. Everyone carries a history with them, but she's all about seizing the day. Carpe diem!

It is the personal history of each person to which she refers. Everyone experiences things, sometimes pleasant, sometimes unpleasant. You reap what you sow, what you feed grows and what you prune blooms better next time. In nature, flowers entice bees and other insects to come closer and sample their nectar.

Just like the old masters, she brings together different flowers from different seasons to show that you always have the choice to recreate your narrative in such a way that you can continue to bloom in whatever season of your life you are in. For her, the reference to the old masters is both an ode and a way of honoring what has been. Nowadays we can buy almost anything our heart desires, but the delight people must have felt at the luxurious extravagant exotic flowers we should now seek more. A flower on the roadside can have the same splendor as one that has been specially grown, so sometimes the simplest things in life are the most beautiful. The woman plays a central role in her works of art.

She is fascinated by eyes as a mirror of the soul and is happiest when she can let these multiple emotions speak. The 'Mona Lisa' look that follows you from multiple points of view is one that means to her that you can be seen from multiple sides and that this is the highest achievable thing you can achieve. Her women look lush and in bloom, but they also harbor emotions that do not immediately appear on the surface.

The portraits of the old masters often only show a one-sided side of the model. She looks for vulnerability on the one hand, but above all for layering in the model. Maria merges impressions of women into a new whole. The gold leaf that she has used in her art represents the choice to always choose the most noble.