AUTUMN TRANSITIONING INTO WINTER

The very large Liquidambar liquidambar styraciflua in the Royal Botanic Garden Melbourne was looking splendid a couple of weeks ago. There was still some green in the canopy which, by now, is likely to have changed to autumn colours.

The tree looked particularly striking against the green of the oaks in the background.

This mass of orange and yellow leaves certainly gives justification to the "ambar/amber" part of the tree's name.

I was intrigued to find this small group of leaves and a single fruit growing directly from the bark of a large lichen encrusted branch. These colours really are inspiring. However, the sight also leaves me grateful that the majority of Australia's trees are evergreen.  

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I recently set my Melbourne students the exercise of making an  ikebana with "Intertwining materials". The exercise is open to a variety of interpretations.

Marcia used some branches of dried Tortuous Willow Salix matsudana, which were interlocked. With these providing a strong structure, she then intertwined some fine stems of Jasmine Jasminum. A single Parrot Tulip Tulipa, creates a contrasting focal point.

Eugenia used some dry branches of Corky elm around which she twined an unknown vine with long catkins. On the left side are some stems of the leafless Acacia aphylla which were twined around themselves.

Jacqueline used two New Zealand Flax leaves and some dried vine that was already twisted onto itself. She split one of the flax leaves into five and then threaded the sections into the other materials. A single Gerbera was added as a floral focus

Marisha had two lengths of Wisteria vine that were too long to be supported from a single cylindrical vase, so a second one was brought into play. This meant that the vine could be extended and intertwined without the risk of it breaking. Two Asiatic Lilies were placed toward the back to maintain the focus on the vine.

My own ikebana this week is the product of a demonstration I gave in conjunction with the exhibition "Cutting Through Time" currently showing at the Geelong Gallery (until 28th July). The exhibition focuses on the work of two Australian artists: Cressida Campbell and Margaret Preston, both of whom were influenced by traditional Japanese wood block printing. I highly recommend this exhibition if you have the opportunity to visit Geelong.

My first ikebana is a large horizontally-spreading ikebana that represents the transition from autumn through to winter (reading right to left). The materials are Japanese maple Acer palmatum, Chrysanthemum and a bare branch of Magnolia. The wood-fired vessel by Sergio Sill has a Shino glaze.

I made this second ikebana as a direct reference to a detail in one of the woodblocks by Cressida Campbell. The image is of the artist's living room which shows many paintings and prints on the walls. It also contains a small image of a very tall glass vase with a single pink Hydrangea and some material beneath the water in the vase. I was struck by the ikebana "correctness" of the image. The element below the water surface is clearly a part of the whole ikebana and there is and uncluttered "space" at the bottom of the vessel.

Greetings from Christopher

26th May 2024

 

ITS NOT EASY BEING GREEN *

At recent classes in Torquay and Geelong I set my students the exercise of making an ikebana using "Green Plant Materials" only. The logic of this is that Green is the predominant colour when we think about the botanical world. However, we often  focus on other colours, especially when it comes to flowers. The exercise is to encourage the ikebanist to pay attention to the many variations and textures of green.

Annie set her materials in a footed vessel. One of her materials was some current season Gumnuts with the beginnings of some maroon colouring.

Coralie used Bracken fern, Dietes leaves, which she interwove, and a small stem of vine (perhaps Kennedia). The Dietes leaves

were interwoven to repeat the triangular form of the Bracken.

Lyn set Pinus radiata, Olive, and Banksia. The latter was set so that the pale green backs of leaves were also visible.

Róża used two Strelitzia leaves as the principal subject, with Sage and a small unidentified herb. The right hand of the Strelitzia leaves had a striated appearance with yellowish bands parallel to the veins.

In the Geelong class:

Maureen used green gumnuts and Leucadendron branches. She also used some dyed Mitsumata Edgeworthia, one of the plants commonly used in making Japanese paper. This plant is unusual in that it naturally forms three branches at nodal points. The unusual branches are processed and bleached or coloured for use in ikebana.

Christine used the end of a Dracena branch, some pale blue-green salt bush and a large Philodendron leaf placed at the back of the arrangement.

Helen used only two materials. After arranging the Aeonium and then adding a mass of very fine-leafed Acacia, she realised that another material would weaken the design.

Ellie used some branches of Cypress Cupressus and two different types of green Chrysanthemum.

Jo's exercise was to make a "floor arrangement". She used a large branch of Silver Birch Betula pendula, as the principal material. To this she added some stems of curving Rose berries.

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My own ikebana this week uses Hydrangeas from the garden at the end of their Autumn phase. In early summer they are white; they slowly become pink; before going green then red in Autumn. The single leaf is from our slow-growing Gymea Doryanthes palmeri, a gift from my colleague Emily Karanikolopoulos. Some mechanics were necessary to achieve the floating of the leaf across the vase opening. It is secured to a vertical stem that is anchored in a kenzan at the bottom of the vase.

The vase is by the Victorian ceramic artist Arnaud Barraud.

Greetings from Christopher
19th May 2024

* "Its not easy being green"   Kermit the Frog.

AUTUMN COLOURING

 

When walking along the path at the back of our house a couple of days ago I was really surprised to see this Sulphur-crested Cockatoo chewing the bark on a large Moonah Melaleuca lanceolata. I became even more surprised when it did not fly away even though I passed by at a distance of less than 3 metres.

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In a recent class I set my Torquay students the exercise of making an Autumn ikebana. I was pleased that the students were able to find branches with autumn leaves to use. Such northern hemisphere plants do not tend to grow so well by the coast because of salt laden winds and often poor soil.

Norma used Crepe Myrtle Largerstroemia, Manchurian pear Pyrus ussuriensis, Cape Honeysuckle Tecomaria capensis and a sprig of Leucadendron that is providing a bit of green contrast at the back of the arrangement.

Marta's principal material was Smokebush Cotinus, Japanese maple Acer palmatum and fine lines from an unidentified branch that had been stripped of its leaves.

Pamela also used Manchurian pear, Japanese maple and some Cotoneaster providing a green contrast and the addition of red berries.

Róża used Passion fruit vine Passiflora edulis and a small stem of Hydrangea for the principal lines in her ikebana. The mass in the arrangement is made with Hydrangea flowers and leaves, which have changed colour in the cool of the autumn nights.

My Geelong senior students were set the task of making an Ikebana on the theme of "Intertwining materials". Although it is not a requirement, this exercise is easier if two different materials are used. An additional requirement of the exercise was to use two vessels.

Maureen used Snapdragon Antirrhinum, and Sea lavender  Limonium sinense. The latter turned out to have the property of "spring steel". It could be pulled into a beautiful tight curve and then quickly return to its previous shape when released. Thus her ikebana became a "Vertical Composition".

Helen used a variety of New Zealand Flax Phormium, which is rather stiff. She bent the flax leaves so that they could be intertwined. Her other materials were an olive-coloured Amaranthus which curled around the base of the flax leaves and some rust-red Chrysanthemum.

Ellie's principle material was branches of Tortuous Willow, Salix matsudana (a variant of Salix babylonica), which were intertwined into a sculptural structure. Straight stems of Amaranthus, with bright orange flowers, were then threaded through the structure.

Maree's exercise was to make an "Arrangement on a wall". Her cascading line of Ornamental Grape Vine Vitis was enlivened with the addition of yellow Chrysanthemums.

Jo's exercise was an ikebana in a suiban without using a kenzan. She used Magnolia grandiflora as the principal material with long stemmed roses as a focal point.

My ikebana this week was for an Ikebana International workshop yesterday, which was led by my ikebana colleague Chieko Yazaki, head of Shogetsudo Koryu in Victoria. Cheiko and two of her students demonstrated using baskets and a traditional wooden water bucket as vessels for ikebana.

I made my ikebana in a shallow woven bamboo basket with a complicated design in the weave. The ikebana is a simple, informal autumn arrangement using some pink-tinged Nandina domestica and a white Camellia with pink edges on the petals. At the appraisal I was relieved when Chieko commented that she was happy with the Camellias being partially obscured by the Nandina. 

Greetings from Christopher

12th May 2024

 

DEMONSTRATION

At the beginning of last week I presented a demonstration of seven ikebana works to a private group. I was assisted by my fellow Sogetsu teacher Emerald Leung. My student Marta and her husband generously gave me access to their garden to collect some materials, for which I am most grateful. Their house is about 19km inland and, therefore, not subject to the ravages of salty winds. In their sheltered garden, with good soil, many northern hemisphere plants flourish but which would not do well in our seaside garden.

The photos below are not in the order in which I made the arrangements. Unfortunately, I did not photograph the first ikebana I made. It was a "Basic Upright" arrangement, which is the first exercise of the Sogetsu curriculum. Each of the following arrangements is an interpretation of an exercise from the Sogetsu curriculum.

The theme for this arrangement was to use a tsubo-style (globular) vase. The ikebana is horizontally spreading to reveal the beauty of the Japanese Maple Acer palmatum, on the right, and a bare Magnolia branch on the left. A transition from autumn to winter. However, I rather obscured the Magnolia branch by adding some Nandina domestica which has red tips. A green Hydrangea with leaves attached, forms a mass in the middle. On this occasion the maker of the vessel is unknown.

The next ikebana theme was "Showing lines at the base". The lines must be clean and clear where they arise from the vessel. I have used Strelitzia leaves which I partially 'fenestrated" to allow the bright orange Lions tail Leonotis leonurus flowers to peep through from the back. The suiban is by the New Zealand ceramic artist Elena Renka.

The next curriculum exercise was to make a "Composition of Curved lines". I have used Coast Sword Sedge Lepidosperma gladiatum, which has beautiful glossy green leaves that curve particularly well. The contrasting mass is made with two Hydrangea flowers from our garden, which have coloured to a rich red in the cool night air. The unglazed vase is by Don Jones, a South Australian ceramic artist.

This ikebana has the theme of using "Seasonal Plant Materials". In this case the autumnal materials left to right are: Nandina domestica leaves, Hydrangea leaves and a flower, orange Pittosporum P undulatum berries and Medlar Mespilus germanica. The box-shaped ikebana vessel is by the Canadian ceramic artist Leta Cromier

This ikebana is "Focusing on the uses of water". I deliberately chose to arrange the materials underwater for the unique feel such arrangements produce. They are particularly suited to the  hot weather of summer. It is important to use a limited amount of material and to attend to the changes in appearance of the material underwater. The materials are: Dietes grandiflora leaves, Ivy Hedera berries, and Cane Begonia flowers.

The theme of my final ikebama was "A composition of Mass and Line". In this case I created two knotted-looking masses using the stems of Strelitzia Juncea. I began by bundling four stems together and then randomly bending them across each other. The mass on the right is rather loose, while that on the left is tighter. The masses have been attached to the vertical line of the same material that arises from the centre of a tall narrow Japanese vase. A small mass of Nandina domestica Nana, leaves have been added to provide a colour focus.

When I came home I reset the line and mass ikebana in a vessel by Phil Elson, I was pleased that this photo shows the space between the top of the vessel and the mass more clearly than the previous photo.

Greetings from Christopher

5th May 2024