Season After Season is constructed from joined and reversed canvases, layered and torn canvas, and a cut and painted dimensional flower. The work asks the viewer to move closer, look beyond the frontal image, and consider what remains hidden or outside an initial point of view. Understanding develops through looking longer, changing position, and taking in what is not immediately visible.
 
The poppy anemone appears in simultaneous states: as field, sketch, botanical study, scattered seed forms, and a physical flower that rises from the painting while merging back into it. Abstract forms suggest seeds dispersing and multiplying, as though the flower is bursting outward and generating new growth. On a torn and scorched section of canvas, partially colored and drawn flowers and two bullet casings are partly obscured by a smoky white layer, suspended between appearance and erasure. A distant landscape of hills, trees, and flowers contains faint suggestions of smoke and fire.
 
On the reversed canvas, the image of a closed poppy anemone bud seeps through from the unseen side facing the wall. It remains visible only as a trace of the image on the other side.
Botanical phrases are written along the canvas edges and burned into the exposed wood structure like notes about the plant itself. The identification Kalanit / Poppy Anemone / Anemone coronaria is burned into the side of the exposed stretcher. Along another interior section, “national flower” remains visible, while the word “Israel’s” can only be discovered by looking inside the construction. “A tuberous perennial, disappearing underground and returning season after season” and “Not a true poppy but from the buttercup family” are inscribed along the left side of the frame.
 
Season After Season brings growth, disappearance, violence, and return into the same field of view. Its meanings are not available from a single position. Details emerge through sustained looking, allowing states of being, becoming, disappearing, and returning to coexist.