Artworks from my series 'Stitching as Storage' explore how textiles can store, index, and arrange ecological data, with a particular focus on primordial blooms, modern descendants of some of the earliest flowering angiosperms that first emerged during the Cretaceous period. Blue Waterlily is composed of 7,360 hand-embroidered stitches on a grid-based cotton cloth canvas. Embedded within the geometric abstraction is an aleatoric notation derived from the rhythmic biodata of the Blue waterlily. Recognized as one of the earliest known extant flowering species - with ancestral lineages dating back over 100 million years to the Early Cretaceous period - the Blue Waterlily is a primordial bloom that embodies wisdom and perseverance due to its existence within and throughout deep time. To retrieve the biodata of plants, sensors are directly attached to the plant to record the changes in electrical conductivity that transpire through the stomata: a direct channel between the plants’ internal autonomous systems and the conditions of the external world. Each significant change within the stomata is communicated to the sensor, initiating the recording process. This biodata is then sonified and notated as a rhythmic composition, where each embroidered line signifies the duration of an 1/8th note, encoding the plants’ biological rhythms into geometric harmony. Conforming to the principles of aleatoric composition, the rhythm is dependent on as determined by the plant’s intrinsic stochastic rhythms at the time of recording. The notation is an algorithmic mark making instance that articulates a rule-based compositional procedure symbolizing the “beat” of the plant. The choice of stitching with two color values nods to the most basic form of computer code: base-2, wherein two binary values are utilized to constitute conversation, or in this case, rhythmic notation.