December at the Lake captures the stillness of early winter through sharp, minimal forms that rise from a reflective field. Its abstraction distills the season into pure geometry and atmosphere, offering a contemplative entry point into the theme of reflection—both literal and psychological. The work invites viewers to consider how quiet environments hold emotional resonance.

January at the Lake explores reflection as a dynamic interplay between structure and translucence. The floating triangular forms and shifting cool tones evoke the tension of midwinter: brittle, luminous, and in motion beneath the surface. The piece stands out for how it transforms seasonal perception into an abstract spatial experience.

February at the Lake uses curved, sail‑like forms and rising verticals to suggest thaw, movement, and the first subtle break in winter’s rigidity. Its reflective gradient becomes a metaphor for transition—how light begins to shift and how perception softens. The work embodies reflection as a process of change rather than stillness.

March at the Lake brings the series to a moment of emergence. Warm tones meet cool ones, and geometric structures intersect with delicate lines and spheres, creating a sense of renewal. The piece reflects the complexity of early spring—where clarity, warmth, and lingering winter coexist. It deserves consideration for how it abstracts seasonal transformation into a layered, reflective landscape