In Love With Stopped Time shows a muscular young man, bare-chested and half-turned in shadow, his head covered by a thick crown of flowers. Yellow roses, crimson blooms, greens, and white petals flare outward like a burst of summer, while the body below stays quiet and grounded. Oil-pastel strokes build the figure in layered violets, warm browns, mossy greens, and cool blues, so skin feels both physical and dreamlike—lit from within rather than from a single source.**The composition is simple but charged: bouquet above, torso below; celebration and weight; perfume and sweat. The dark background presses in, making the wreath glow and the shoulders read as sculptural. The pose is calm, not performative. The figure looks down and away, as if caught in a private pause.**The work sits between portrait and still life when a subject becomes objectified next to animated objects. Traditionally for this series the man is presented as a vessel for the matter behind the flowers as a symbol. The blooms are yelling while the figure is confined into the deep, meditative silence. The colors, the light, all treats the male body with tenderness and appetite, but also with restraint—desire held steady, like time held still. In a queer context, the wreath reads as ornament and disguise: an invitation to look, and a way to control the gaze. Up close, the surface is dense with rubbed color, like memory pressed into paper. It rewards slow looking, then lingers afterward.*