this is why i think that my ikebana teacher is the best in australia and i can only aspire to reach the levels of creativity that she has. look at the amazing composition of the container, the materials, the background screens and the wooden poles to the side.
this was shown at the recent melboure international flower and garden show, which i visited to get inspiration for my upcoming arrangement, which requires both fresh flowers and vegetables. i have taken some pics which are on my flickr site to the right of this page so check more out. the rmit floral fashion is really good too.
if anyone has any ideas for interesting flower/foliage/vegetable combinations then let me know. i am currently thinking big red chillies and pink lillies, which is kind of a cop out as i saw this combination at the show and really liked it.
Filed under ikebana, japan
ive called this the haircut ikebana because of the fringe trimming that occured to get the straight lines. the vase is also new, from japan.
A couple of weeks ago this was a vase of brown sticks. When I arrived home from o/s small flowers had started to grow. it’s an arrangement in progress as every day a new bud comes out or a leaf grows.
and installation artist
i skipped work at the library yesterday (took and RDO) to attend an ikebana workshop led by master teacher and installation artist Tetsunori Kawana from Japan/NY. Apparently this guy is all about ‘passages’, where part of the whole ikebana experience is about not only viewing the arrangement, but also walking through it to see it from all angles. ‘floating’ arrangements are also his ‘thing’ – the image above shows what floating means.
kawana sensei rocked up to the workshop venue exhibiting the quintessential japanese artist aesthetic of issey miyaye pleats, koizumi haircut, and a brown woven leather satchel (I want to say bottega venetta but I’m not that down with my handbag designers) . but i wouldn’t have expected anything else really. apparently he had gone through more than one bottle of wine the night before but he hardly looked hungover, unlike me who had drunk 3 beers the night before, woke up late and was the last to arrive at the workshop (note: the average age of workshop participants was between 60 and 70 years old).
public critique is part of every ikebana workshop – he dissed my first arrangement in front of the group of 40 students but liked my second, which had taken about 15 min to conceptualise and construct. unlike the first which had taken about 2 weeks of consideration.
as much as i like it in the library land, a day off a month is good for one’s sanity levels. we’ve been having library management system issues for the past week which i haven’t been able to fix. also, i think that i have made my first official workplace enemy in this past week too, details which i am not going to go into because it’s not appropriate in this type of forum.
i am aware that i am straying from library themes so this should be the last non shhhhhhhh entry for a while. on my way to ikebana (flower arranging) this evening the bag containing my two new vases broke. one of the pair smashed into small pieces; the other broke into three pieces and is probably a salvagable so long as it’s viewed from afar. i wasn’t happy about it at all, but then again, they are just objects and i really shouldn’t be too attached to worldly possesions – ikebana was traditionally a means to clear the mind and come a step closer to enlightenment.
but as i pondered the meaning of life in Kazari, the space where i practice ikebana (it’s a shop, it’s a japanese cafe, it’s an art gallery, there’s an ikebana link where i’m arranging flowers) , and reflected that the posession of beautiful pottery shouldn’t be the key to my happiness, i stumbled upon a local melbourne artist whose work i think is really cool and really have to own. her name is andrea innocent and her work is ace. described as:
“A self-confessed nipponophile there is no denying the influence her exposure to Japanese culture has had on her work. Themes range from investigations into the cult of otaku to traditional Japanese folk tales and Japanese textiles and their meanings. … Heavy in symbolism the illustrations fuse contemporary art and socio-political comment with traditional works. Aesthetically the works borrow heavily from the traditions of ukiyo-e, manga and subsequent contemporary styles such as ‘Superflat’.”
plus she lists her influences as haruki murakami, osamu tezuka (ie astroboy and kimba the white lion) and yoshimoto nara. the image that ive used for this entry is one of her prints and the rest can be seen here. so if you have time take a look and help me choose a print. i think that they will go really well with my late 19th century geisha woodblock prints, ne?