In artworks titled, Amelia’s Flowers in March, 2023, Birds of Paradise Bouquet with Shells and Stones, 2024 and Anemones Bouquet on Faux Leopard Hide, 2024 , Valdez drew inspiration from the tradition of the 17th-century Dutch still-life paintings that featured flower bouquets. Her intention was to convey the fascination with nature, wealth, and symbolism prevalent in that era.

These paintings depict large and abundant bouquets filled with seasonal flowers sourced from various regions, made accessible through the Downtown Los Angeles flower market. The evolution of global trade and technological advancements has broadened the market for such floral displays, which were once exclusively reserved for aristocrats. Today, these expansive bouquets represent not just the import of a few exotic flowers, but also signify a global market where different regions and countries have been introduced to new floral species and varieties, leading to the cultivation and appreciation of diverse floral traditions.

This parallel between the trade of flowers and immigration highlights how the convergence of different cultural backgrounds has resulted in the blending and sharing of customs, languages, and traditions. These flowers have historical associations originating from regions in Asia and have been prominently featured in classical Chinese art.

Formally, these compositions emphasise the bouquet as the central focal point, strategically positioned at the forefront. Surrounding the bouquet are domestic house plants with tropical origins that echo the broader international influences. The addition of shells, feathers, and a rabbit fur pelt painted with spots create a frame of pattern and focus, guiding the viewer’s attention in a circular manner along the edge of the bouquet. Versions of these textiles have recurrently appeared in her paintings over the years.