DRIED PALM



The rain I mentioned in last week's posting was indeed welcome. However, we are now waiting for further follow-up rain to keep the ground moist.

In the meantime the world of ikebana continues to be busy. On Monday last I attended a Sogetsu Branch workshop led by the sisters-in-law Toula and Betty Karanikolopoulos. They are both long- standing members of our branch and were also students of my first Sogetsu teacher, Carlyne Patterson. 

The theme of the workshop was to make some ikebana using dried materials from palm trees. Wikipedia tells me that there are around 2600 species of palm. I am fairly confident that the only Australian native palm that grows in Victoria is the 'Cabbage Tree' palm, Livistona australis. The dried parts of palms that were used were the: inflorescence (fruiting stems), the flower-covering spathes and the fronds, often the broad part of the frond which attaches to the trunk. 


This photo, taken in a Queensland garden, shows the inflorescence of an exotic species of palm just starting to open.


The same inflorescence a couple of days later.



And a close-up of the fruit forming.



Two spathes showing front and back, from my garage collection.



A very dusty old inflorescence...




...and close-up.

Below is the work of four of my students who attended the workshop.


Ellie Welkamp 
    

Eugenia Chudacek


Helen Novic


Robyn Unglik.

Follow this link to the entry on the Sogetsu Victorian Branch website to see more photos from the workshop.

Greetings from Christopher
22nd April 2018



COLOUR of the VASE

As I write this post on Saturday morning, some showers have arrived with very strong winds. The rain is a great relief for the garden as we have had a very dry summer. Our 13,500L rainwater tank, which I have been using for the garden, is nearly empty.  



A couple of days ago I noticed some large cracks in the ground beside the road in front of the house. These form in extra dry weather because about 60cm below the ground surface is solid clay, which shrinks considerably when it is dry. Such are the conditions that make growing of exotic plants difficult in our garden. 

One of life's lessons is to accept the realities of what is going to grow in the circumstances of our gardens in spite of being drawn to the exotic, and to enjoy the unique beauty to be found there.



Here is an unexpected bit of beauty I came across yesterday. It is the well camouflaged cocoon of a case moth that usually feeds on eucalyptus and native cypress species. It also likes silver birch and pinus species apparently. I haven't noticed one for a long time and it took me back to childhood memories of finding them in my parents' garden.


One success I have had with exotic plant species in the last year is this variegated miscanthus that was given to me by my ikebana colleague Margaret Leung. It has flourished because I have kept it in a well watered pot in a protected position. To the left in the background you can see an autumn- coloured hydrangea. 

Taking inspiration from an Ohara School ikebana colleague, Sally Wilkinson, I decided to use the same materials in this week's ikebana.


This is my first version in the living room niche. My intention was to focus on the autumn colours, in the hydrangea flower and in the margins of the large leaf on the right hand side. They are vey close to the maroon of the traditional-shaped vase. However, I concluded that the miscanthus was too dominant, distracting from the main subject.


My solution was to lower the miscanthus by cutting it into shorter sections, and creating more space between the two hydrangea heads. The leaf is a little further forward and is better shown. This ikebana arrangement is one way to interpret the Sogetsu curriculum theme, 'Taking into account the colour of the vase'

Greetings from Christopher
14th April 2018

FADING MATERIALS

Last week we went to Wagga Wagga in south central New South Wales, to visit our friend Janet, who took us to the National Art Glass Collection at the Wagga Wagga Art Gallery. She had taken us there on an earlier visit and it was certainly worth another look. 

"...The collection was first established by the former director of the Wagga Wagga Regional Art Gallery, Judy Le Lievre in response to a request by the Australia Council for regional galleries to develop as specialised collections to avoid duplication and competition..."  (Wikipedia)


This photo shows a small installation of, mostly, clear glass vessels against a window with a shallow pool beyond. A quite playful placement of everyday objects.



This mobile of delicate glass hemispheres  was created by an artist who stated that the 'lacy' appearance of the objects referenced her Irish ancestry. There was something quite hypnotic about the gentle movement of this installation.


When we came home I noticed the last few scabiosia flowers from last summer. They reminded me of the form of the objects in the mobile,...



...delicate lacy hemispheres.



I also found a broken branch of Broom Cystisus scoparius. a significant plant in the garden because it had been struck from a bush in my parents' garden.

I decided these fading materials should be given new life as the subject of this week's ikebana.



I have caught the tips of the broom branchlets together and arched them in an ikebana vase. I have then used the stems as a hana kubari, a support created from botanical materials, to hold the scabiosa flowers in place, thus avoiding the need for a kenzan. The porcelain vessel  is by Hiroe Swen, the Canberra based ceramic artist.    

Greetings from Christopher
8th April 2018


AUTUMN COLOURS

Back in Torquay, after our brief trip to Tokyo last week, Autumn weather has arrived with warm, windless, sunny days and cooler nights. During the week we visited the Lorne Sculpture Biennale, this year titled 'Landfall'. I was intrigued by the simplicity of this work below, sited on the beach. Re-cycled timbers from the Rosebud pier were fixed between two curving steel beams.


It looks warped by the sun and sea...



...and distorts perspective from this angle.



The other work that I particularly liked was 'Couta Memory', a couta boat shaped void created within 19 vertically-placed marine plywood pannels. Follow the links to some interesting information.



This sculptural work was sited at the end of the Lorne pier.

The cool nights have brought an Autumn colour change in the garden.


The ornamental grape vine on the pergola was the first to colour.


I was surprised to see a frond of the Nandina glowing in the sunshine. This is the first time that the it has coloured so evenly. I will be watching to see if more of it changes colour. 



At this stage the hydrangea, that came from Laurie's family home, is only coloured on the leaf margins.



The flowers which have suffered from heat stress during the summer are only lightly coloured so far. I decided to choose the best of them for this week's ikebana in fear that they may deteriorate before too long.


I arranged them in a tall white porcelain vase with some stems from the Strelitzia juncea



Here it is against a plain background.

Unfortunately this year I missed the Melbourne International Flower and Garden Show. However, my colleague Helen Marriott took some excellent photos of the award wining Ikebana International exhibit.

See also Emily Karanikolopoulos blog for photos of her demonstration on the last day of the MIFGS. 

Greetings from Christopher
1st April 2018

The blue hypertext links to additional information.

SNOW, SUNSHINE, OHANAMI and RIJI

Last Tuesday Laurie and I came to Japan for a few days. We arrived at the beginning of Cherry Blossom season and took a day trip to Nagoya to visit an old friend of Laurie's.


What we did not expect to see from the Shinkansen was sleet, then snow on the ground at Shin Yokohama. Above is a photo I took of the front page of the Japan Times, which reported snow falling in the Shinjuku Ward of Tokyo.


A couple of days later we went to Shimoda on the Izu Peninsula. This is the port town where Commodore Matthew Perry confronted the Japanese government in 1854 demanding the opening of the country to the outside world, effectively ending the isolationist policy of the Tokugawa Shogonate.



Spring was definitely in the air and the sun shone beautifully on the fallen camellia blossoms.



A couple of days later we confronted the old and the new at the Hama-rikyu Gardens on the edge of old Tokyo Bay,...


...and shared an ohanami picnic, under the cherry trees, with our friends Joe and Chiyomi Gayton.

The principal reason for our visit to Tokyo was to attend the 'Flower Thanks Day' ceremony at the Sogetsu Head Quarters for my promotion to the Riji Certificate. 



My colleague Pat MacKie, from Brisbane, was the only other Australian promoted at this year's celebration.
We were invited to place a flower offering at the beginning of the ceremony...



...including our guests.



Here is Laurie adding his flowers...



...and a group photo of the teachers promoted to Riji Certificate with the Iemoto, Akane Teshigahara. 



Following the ceremony a party was held in the Head Quarter's Lounge...



...and the chance for a personal photo with the Iemoto.

This week's Ikebana photo offering is the Bamboo installation that was in the Stone Garden 'Heaven', the Head Quarter building's exhibition space.

   
    
    

Greetings from Christopher, in Tokyo.
24th March 2018



IN THE CLASS ROOM

At my class in Melbourne last week, Kyoko's exercise was an arrangement of 'Massed Expression'. It is an interesting, varied and difficult exercise because the mass must be created by the ikebanist and not simply using  the way the material grows. For example a large hydrangea flower, which has a lot of mass, would not qualify for the exercise. 

Kyoko used an unknown, straight-stemmed, branch material with small, slightly-pointed, elliptic leaves on the left, and four straight stems of 'Pinappple Flower', Eucomis on the right.


Kyoko has successfully cut the leafy stems into short sections and then arranged them so that they make an undulating mass with the leaves pointing in different directions. The mass of Eucomis is composed of four stems which are no longer visible.

For my Torquay students I had set the exercise of an arrangement of 'Autumn Grasses'. All of the students gathered materials growing near their homes. The three arrangements have a distinctly different feel in spite of using similar materials in a naturalistic manner.



The curving line in Val's arrangement reminded me of the Rimpa style of painting. 



Helen has divided her arrangement between fresh material on the left and dry on the right.



Kim created a very open, quite tonal, arrangement with attention to space.

At my teacher's class in Melbourne, I was amused that the exercise was to make an arrangement in a glass vase, having just done so the previous week in the Ikebana International Exhibition. The materials are familiar from last week's posting. However, on this occasion I have used minimal materials and added some cumquats to give a texture and colour contrast.


I placed the cumquats in the bottom of the vase and then braced a spent agapanthus head across the middle of the vase. To extend the design I have placed the second agapanthus stem outside the vase to create a strong line and an interesting space. It was fun to watch the cumquats rise and be held by the submerged agapanthus flower head as I added water to the vase.

On Friday of this week an exhibition of prints by Jörg Schmeisser was opened at the Geelong Gallery. These works on paper are a future bequest from our collection that are being publicly shown for the first time. In fact it is the first time we have seen them all in one space. 

Laurie purchased the first work in 1979 following the year he spent in Nagoya, 1978. They constitute one of the factors that lead me to begin my study of ikebana when we spent 4 months in Nagoya in 1992. If you are near Geelong they are on display until 27th May. 
   

        
       
         


Greetings from Christopher
18th March 2018

Click the link to Ikebana International Melbourne March meeting.