Fruition subverts the traditional methods of classifying nature, beauty, and the process of printmaking. Two-dimensional screen-printing became three-dimensional, the organic nature of the flower became geometric, and the mathematical design became skewed with the intimate contact of hand folding. Each stage of production contributes to the final work; each step relies on the previous to continue to the next. The contrast between the individuality of each flower and the overwhelming multitude presented together creates a dichotomy that highlights the contradicting standards we place on beauty and intrinsic worth. In the words of St. Thérèse, “If every lowly flower wanted to be a rose, spring would loose its loveliness.”
          Viewers were invited to approach the wall and examine the individual characteristics of each flower as well as to step back and view the piece as a garden of sorts. The number of flowers on the wall is represented in the number of prints stacked in Potential.