In 2021, I made vector patterns from the dried leaves of a Crassula 'Jade' plant—leaves that had died and hardened into metallic, textured shells, more beautiful and more interesting, perhaps, than the plump succulents they had once been. The first Flight Dance was exuberant. Four years on, I returned to the compositions with a different eye. This second version is more measured: a smaller central cluster of layered, rotated leaf patterns, and a simpler layout. The title carries its own duality—flight as fear, dance as joy—acting as a tentative bridge between the internal experience of making and the viewer's encounter with the work. Returning to earlier motifs teaches me what endures: the elements and techniques that still satisfy, the themes that have deepened. It is a form of self-archaeology.