In 'Flores del mal [Flowers of illness]', a red rose emerges from a dark, almost bodily piece of fabric beneath the title embroidered delicately in red thread. The words recall Charles Baudelaire’s 'Les Fleurs du mal', the nineteenth-century collection whose treatment of sexuality, desire, decadence and the forbidden led to its prosecution for offences against public morality. In Centurión’s hands, the idea of flowers growing from “evil” takes on another resonance. Beauty and illness, desire and morality, pleasure and mortality are allowed to occupy the same space. The flower becomes not an illustration of suffering but an assertion of beauty in its presence.