Dahlia Mandala – Geometry of Stillness-No.10-Limited Edition (2025) 摄影 由 Sanzhi Chieh

This black and white series explores the Dahlia flower as a natural mandala — a sacred geometry found not in temples, but in gardens.
Rather than chasing high-definition realism, I choose to emphasize imperfection, grain, and texture. These photographs are intentionally sculpted to resemble charcoal sketches or weathered memories, inviting a sense of timelessness. In stripping away color, the Dahlia's structure becomes more pronounced — a hypnotic arrangement of petals that form concentric, almost sacred patterns.
Each bloom is a quiet architecture of meditation. In its radial symmetry lies a visual mantra, echoing the meditative qualities of mandalas used in spiritual traditions across cultures. This geometry is not merely beautiful — it gently anchors the mind. It asks us to pause, reflect, and observe.
Through this lens, the Dahlia becomes more than a flower — it becomes a portal to stillness. Its repeating forms create a subtle gravitational pull, holding the viewer’s gaze in a silent, visual rhythm. It is an object that seems to breathe on the wall, softly encouraging contemplation.
This series invites you to see nature as both design and mystery, — and the act of looking as a form of meditation.
Symmetry—resembles the sacred patterns of a **mandala**. Each flower becomes a meditative object, inviting the viewer to step into a space of calm, order, and visual contemplation.
Symbolically, the **dahlia flower represents strength, elegance, dignity, and the courage to face challenges**. Often associated with **feminine wisdom and grace**, it’s a flower that honors resilience and beauty in all its forms. In monochrome, these meanings rise from the shadows and textures, giving each photograph not just form—but presence and soul.
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Artist Statement :
My fine art photography is a quiet transformation — from the softness of Michelangelo’s sketches to the nostalgic tone of 1920–1940s film photography.
After seeing Michelangelo’s original drawings at the Getty Museum, I was struck by his ability to hold emotion in faded lines and silence. That experience changed how I saw the world. I later studied charcoal and traditional sketching, which now shapes how I edit my photographic work — with a hand-drawn softness and respect for tone.
Using modern photography, I don’t chase perfect resolution. Instead, I choose to slow down the image — turning floral forms into meditative mandalas, fading time, and echoing the visual soul of early mechanical cameras. Each piece is edited as if drawn by hand. My work sits between eras: past and present, photography and drawing, nature and memory.

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