This installation caused a massive sensation on the opening day of the exhibition.
Scores of people stopped in their tracks, lingering in front of the piece for a long time.
The curator, Isabelle—a French woman renowned for her impeccable taste and sharp tongue—even made special mention of it during her opening remarks.
Standing under the spotlight, facing hundreds of media personnel and art critics from all over the world, she spoke with slow, elegant French.
"If you were to ask me what truly defines magnificent floral art..."
"I would direct you to Booth Three, to view the work of Ms. Sargent, our brilliant young designer."
"Specifically, the installation titled 'Mother's Garden.'"
Isabelle's gaze cut through the crowd, landing precisely on Annelise where she stood in the corner.
"It is far more than just floristry."
"It is a letter home."
"A letter written to heaven, traversing twenty-five years of time and eight thousand kilometers of distance."
As Isabelle's words settled over the room, a wave of restrained yet deeply heartfelt applause erupted.
Several women viewing 'Mother's Garden' couldn't help but let tears slip down their faces as they stared at it.
It wasn't because the technique was incredibly masterful.
It was because the raw emotion it carried was so unbearably authentic that it made it hard to breathe.
On the second afternoon of the exhibition, Annelise was at her booth being interviewed by a local French art magazine.
Right then, an elegant French woman with silver hair, wearing a chic beige trench coat and leaning on a beautifully carved wooden cane, slowly approached her.
The older woman didn't speak.

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