Across his shellac-on-paper works, Azzuz uses botanical forms as a recurring point of departure. Working with diluted shellac, he produces layered, fluid compositions that emphasize movement, repetition, and surface flow. Plant structures are rendered through fine lines and organic patterning, often extending to the edges of the paper so that each composition appears continuous rather than contained. Together, these works form a material and visual study of botanical life across different environments, linked through a consistent process and compositional approach.

In Blind Eyes (Long-Headed Poppy), Azzuz presents intricately illustrated compositions drawn from the long-headed poppy flower. Using diluted shellac on paper, he creates a watercolor-like effect that emphasizes fluidity and motion. Botanical patterns extend to the edges of the page, eliminating a defined border and allowing the imagery to press outward on all sides. As organic forms spread across the surface, contrast emerges between the coloured lines and the white paper, activating areas of negative space.

Blind Eyes (Long-Headed Poppy) 1 focuses on the motif of the poppy’s stem, while Blind Eyes (Long-Headed Poppy) 2 shifts attention to the flower itself, emphasizing the petals and floral structure. Together, the works explore different components of the same plant through closely related visual strategies.