Carter’s large-scale botanical diptychs capture the feeling of awe and wonder of nature, a renewed look at flowers that are familiar but dazzling. “Flowers are something I have always returned to throughout my artistic career”, Carter reflects. “I love their ephemeral beauty, and how quickly we can see their forms evolve in shape and colour. But with this series of paintings I am seeking to capture the meditative state that can be induced when immersed in nature. At first glance the viewer may be drawn in by the recognisable botanical forms at the outer edges of each diptych, but gradually they will be pulled inwards to something less tangible.”

Inspired by the likes of Emma Kunz, Agnes Martin and Hilma af Klint, Carter’s works transport the viewer via nature, unlocking feelings that belong to the hidden and subconscious realm, a kind of mystic, fleeting sense of beauty.

Carter’s champion for The Wick is the Canadian author and journalist, Graydon Carter. “Pip does for flowers what Hockney did for pools. She connects with nature the way few of her contemporaries do.” Her large floral landscapes are alive. They are vibrant. And they lift the human spirit.”

Inspired by Henri Matisse’s Cut-Outs, Carter began working with cut painted sheets of paper to construct her works a few years back – her works are collaged layers that add an immersive depth. For her show at Shreeji, to add to this enveloping effect, Carter collaborated with Freddie’s Flowers to create an environment with real life flowers, suspended around the artworks. “The effect was truly stunning, I was so proud of what we were able to bring to life.”

Each diptych was precisely presented with a small gap between its halves: described by Carter as “very much the cosmic heart of the piece.” The viewer drawn gradually in, from recognisable forms of flowers towards more abstract shapes where the imagination is set free. “My goal is for there to be a transcendent quality to the experience and therefore the framing needed to be as invisible as possible, and we achieved that beautifully.”

Among Carter’s first sales at the show was to a collector who will hang her work next to an Andy Warhol – who famously made a series of works of poppies in 1964. It’s a thrill for the young artist, at this early stage of her career, and positions her among a cohort of exceptional artists who have explored flowers. But for now, she’s not letting it get to her – she’s back in the studio, she says, creating a limited edition silkscreen print series with her favourite subjects. “The artworks were scanned on an incredibly rare Cruse scanner that came from the V&A – there’s only one in the whole country so it’s pretty special.”