LC0090

The same technique in a hot palette. Scarlet, brick, orange and ochre — and among them a few single green leaves: the ones that have not yet turned. That single detail converts an ornament into a moment in time: autumn is shown as a process, not a state.

The forms are maple and oak, with deep lobes and sharp teeth. The mass is denser to left and right and thinner at the centre; below, individual leaves fall alone, drawn out into a chain.

By day it is a scattered armful of leaves — dense colour read against the light, a living composition without symmetry. In the evening the palette comes alive: the scarlet segments deepen to ruby, the orange to amber, the ochre lightens to gold, and the gold seams read as veins traced in light. A bonfire broken down into separate embers.

Where it works

Generous rooms — lobbies, atria, double-height living rooms, restaurant floors, winter gardens. The saturated palette needs a calm backdrop.

Style

Art Nouveau and autumn classicism: stained glass as a way of catching colour. The message is warm — a piece for an interior in a natural range.