In Flowers, instruments of mass destruction are transformed into lifestyle objects, revealing mechanisms of normalization, trivialization, and capitalized horror. Displayed like skateboards in a skate shop or hand bags, the bombs invite comparison, preference, and choice. The series addresses the aestheticization and commercialization of warfare through monolith-like models of atomic bombs. Stripped of their destructive context, the objects are presented as desirable forms—polished, stylized, and reduced to design.