UNEXPECTED BEAUTY IN HEAT DAMAGED LEAVES

The first photos are by my Geelong students in class a couple of weeks ago.

Anne's exercise was to make a freestyle ikebana, the first time for her. It sounds an easy thing to do, because freestyle has no rules as such. However, the principles of asymmetry and attention to line, mass and space need to be considered. Her materials included three types of branches and two Arum lilies Zantedeschia aethiopica. The different materials are appropriately, grouped together and the flowers have been placed in the centre following the lines of the branch materials.

Jo's exercise was to make an ikebana using the two-step method (see posting on 18th August). That is, first make a freestanding structure with branch material. Then reposition it in or around a vase and add fresh material, in this case three Arum lily leaves. Her structure was correctly made and repositioned for the second step. 

Unfortunately, Jo brought the wrong material, branches with flowers and leaves, to make her freestanding structure. The flowering branches break the fundamental principle that fresh material must be in water. The stems of these branches are outside the vase and do not reach the water. I did not insist that she strip the flowers and leaves from the branches because she was going to re-use them at home.

Maree's exercise was to make an ikebana to be placed on her long dinning table. She chose four squat, clear glass cylinders of different sizes. The materials she used included Sunflower Helianthus annuus and pot marigold Calendula flowers and  Grass Tree leaves Xanthorrhoea australis. The stiff leaves have been braced against the inner surface of the vessels and the flowers floated on the top of the water.

The senior students' exercise was to make an ikebana incorporating Pine branches.

Ellie used Monterey pine Pinus radiata, which she placed in a long suiban. This allowed the soft drooping branch to maintain an upright position, with a little discreet support. She added some white Chrysanthemum flowers as a floral contrast.

Helen chose to use an unusual rounded vessel with an irregular bright blue patterned surface for the exercise. She used a single branch of Japanese Black pine Pinus thunbergii and a partially hidden mass of orange Ranunculus flowers. The flowers were chosen for their contrasting colour to the vessel but are only just visible so that they do not dominate the ikebana.

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The August workshop of the Victorian Branch of the Sogetsu School was conducted by Lara Telford on the theme of Asymmetry. In preparation for the workshop we were directed to an interesting Wikipedia article on Japanese aesthetics, which I recommend to you. The article teases out a number of subtle ideas that inform aspects of "...Japanese culture and aesthetic norms...". Asymmetry is pretty much a basic principle in ikebana. However, like all basic principles, it is easy to take it for granted and not think about it more seriously.

Lara presented and spoke about her examples of this theme. I was interested in this example above where the structure is actually symmetrical. Two large masses and lines of different materials on either side with a smaller central mass of a third material. As Lara said, it is symmetrical and it is not.

This example of Lara's is more obviously asymmetrical.

At the workshop, it was my turn to bring unsuitable material !  I chose three New Zealand flax leaves, that had been heat- damaged late last summer, and a single stem of Camellia Brushfields yellow. My materials were insufficient. I could not arrange the two long flax leaves in the manner of Lara's first demonstration example above.

My completed ikebana above relied for its asymmetry on the off-centre placement of the materials and the single Camellia branch and flower being to one side of the main vertical lines. The shortened, third flax leaf, was placed at the rear and to the left of the main lines. 

The suiban is by the New Zealand ceramicist Elena Renka.

Greetings from Christopher

8th September 2024

CURVING LINES on the FIRST DAY OF SPRING

Over the last several days we have had extremely windy weather. Being on the south coast we are subject to prevailing westerly winds, particularly in the winter months. However, the last few days have been unusually windy across Victoria. 

When we finally got out for a walk yesterday afternoon we were fortunate to miss the rain that produced this arc of a rainbow. While we were watching the waves roll in... 

...the arc became a full end-to-end rainbow. No evidence of pots of gold, just a beautiful sight produced by the afternoon sun behind us.

Meanwhile, a couple of weeks ago in fact, Maree practised using a vertical fixture to stabilise her quite horizontal branch of Monterey pine Pinus radiata. This is a technique for a nageire arrangement, that is: an ikebana made in a tall, usually straight sided, vase. 

This technique is particularly useful when the weight of a branch causes it to rotate away from the desired angle. In this particular arrangement the Hikae line, projecting forward on the right, is made using branch material instead of flowers. The flowers have been placed in the centre of the ikebana, creating a central mass that visually holds the work together. 

Jo's exercise was to make a hanging ikebana Kakebana, that can be placed against a wall. She commented that there was a lot of sailing experience in the family, so that she was familiar with the technique of looping rope for storing. She has secured  a lemon branch so that two fruit are nestling within the loop. 

Anne's exercise was Slanting variation No 2 in a suiban. Her materials are blossoming branches of Prunus and some pink roses for the Hikae line. The flattening effect of the photograph disguises the fact that the branches and flowers are extending forward.

I had set the advanced students the exercise of making an ikebana arrangement with both straight and curving lines.

Maureen used as her principal material a curving dried branch from a Fig tree that had become a soft maroon colour. She has created a colour harmony with the 'Peach sticks' for her straight line and some yellow Clivia berries

Because it was very dry, the curving branch could not be inserted into the kenzan. 

The solution to this problem is to insert stems of fresh material on either side of the dried stem, to which it is wired. The small stem on the right in the kenzan is maintaining the desired angle of the main branch.

 

Christine used a single long curving line of a very flexible material, then also used 'Peach sticks' for the straight line component. Arum lilies Zantedeschia aethiopica, make the floral focus. In the class my comment about this ikebana was that the curving line looked like a basket handle, especially because of the bowl shape of the vase. The nature of the curving line was that it would straighten out if both ends were not secured.

 

Ellie used a straight, but naturally-kinked line of bamboo. Her curving lines are of finely shredded New Zealand Flax Phormium, which creates a soft mass.

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In the garden the Crucifix orchid Epidendrum radicans  is finally in the right place and is doing well. I decided to use it as the focus in a simple ikebana.

Long ago, in my pre-ikebana days, I bought this tall grey-glass specimen vase, which continues to be useful for single flowers. On this occasion I first placed a partially shredded Aspidistra leaf finding the best angle to show the graceful lines. The leaf leans toward the front and the shredded section falls in looping curves. The orchid inflorescence is placed at the rear. 

In retrospect, I think I should have used two stems of the flowers to make the mass bigger.

Greetings from Christopher
1st September 2024

 

EUCALYPTUS PREISSIANA

Recently I set my Torquay students the exercise of making an ikebana with curving and straight lines. As is always the case, the materials the student brings to class determines to a significant extent how the exercise can be interpreted. 

Coralie used several branches of Acacia aphylla for the curving lines in her ikebana. The unidentified straight lines have been placed centrally and bent at right angles at the top.

Norma brought two Aeonium arboreum inflorescences because they had strong straight stems. However, the mass of the inflorescence had to be trimmed considerably to show the straight line. The curved lines are from an unidentified strappy

leaf that has been split.

Louise used green materials only in her ikebana. The straight lines are stems of sedge and again unidentified curving lines. A small mass of Broom Genisteae has been placed at the base.

Lyn used Manchurian pear Pyrus ussuriensis for the curving lines and a trimmed stem of Statice Limonium for the straight line.  

Pamela made an ikebana showing strong straight lines and a single curving line coming forward. Unfortunately, the camera angle prevents it from showing clearly. The line is in front of the second Yucca leaf from the right side.

 

In the Geelong class recently, Maree used a newly acquired "Mondrian" vase. It is the acrylic vessel in the centre of the photo. Maree supplemented the vase with three clear glass vases. She has reduced the botanical materials to minimal elements which is consistent with Mondrian's abstract style. Her exercise was to make an ikebana "expressing herself". In this case, the aesthetics of minimal elements and the clean lines in midcentury design which reflect her personal taste and style. 

A couple of weeks ago Maureen brought a surplus of Eucalyptus branches to class from a larger tree branch that had fallen in a wind storm. It is the Western Australian Bell-fruited Mallee Eucalyptus preissiana.

This particular plant in the photo is growing in a nearby garden. I have only come across Bell-fruited Mallee in recent years and find it quite beautiful. The rich yellow flowers are 5 cm across and abundant at this time of year.

 

This photo shows both flowers and fruit on the same bush.

This is a close-up of the top of the fruit. In addition to the attractive fruit, what I found particularly striking about the branches Maureen brought to class was their angularity. Strong, straight parallel stems emerged at an angle from the main stem. Also, the unblemished leaves were particularly uniform in colour and form.

I set the branches in an open-sided vase that allowed me to place them in more or less parallel lines at an angle. I have removed a few leaves to emphasise the lines and added a focal mass of Coastal Banksia B integrifolia, flowers and leaves

The vessel is by the Canadian ceramicist Janet Keefe.

Greetings from Christopher
25th August 2024

A TWO STEP APPROACH

Last week my Melbourne students' exercise was: "A free standing arrangement of bare branches; a two-step approach". This is one of the newer exercises introduced into the Sogetsu curriculum. The first step of the exercise is to make a freestanding structure with bare branches. This is a great opportunity for students to practise fixing techniques to firmly secure woody materials together. For lighter branches, wire may be used as long as it is very discreetly done and not eye- catching to the observer. Screws and dowels are helpful for heavier branches. Step two of the exercise is to position the structure in or around a vase to which fresh materials are added.

Aileen was unable to attend the class and sent these photos of her work done at home. This first photo shows step one completed.

In step two, Aileen added Plum blossom Prunus mume, in a grey cylindrical vase which is balanced among the lower branches.

Jacqueline made her structure with ornamental Manchurian Pear Pyrrus ussuriensis.

She then turned the structure upside-down in a tall 'spaghetti' jar, to which she added some Oriental lilies Lilium.

Eugenia used some unidentified branches with small red berries to make her structure.

She then placed the structure across a shallow white bowl and added a mass of Leptospermum flowers. The bowl was positioned off-centre on a bright red placemat.

My ikebana this week is a second example I made at our June workshop on the theme: One leaf and one flower. The leaf is a relatively small "Tree philodrendon" Thaumatophyllum bipinnatifidum, and the flower is a white Oriental lily. I have placed the leaf upside-down within the open mouth of the vessel as though it is emerging, to show the ribbing of the underside. The flower is positioned facing to the side so that it does not dominate the simple arrangement. This positioning also shows the back of the petals.

The vessel is by the Australian ceramicist Isabella Wang.

Greetings from Christopher
18th August 2024

CASCADING ACACIA

My Geelong class includes Anne, who is working on the early exercises that are the foundation of ikebana studies. In design terms, these exercises teach about form, proportion, asymmetry and space.

Recently, Anne progressed to the most technically difficult exercise: the Basic Upright Style in a 'nageire' vase. This particular version is the 'reverse' (mirror image) of the standard form. 

We want our ikebana to look engaging and effortless. However, it takes considerable practise to secure the branches and flowers at the correct angles in such a tall narrow vase.

Maree's exercise was to make an ikebana "Using Seasonal Materials'. She has used two branches of Camellia that have been heavily trimmed to create a sense of movement and a feeling of lightness. 

Jo's exercise was to create an ikebana expressing a "Movement". She has used partially dried New Zealand Flax Phormium,  "snaking" through the bars of the metal wine rack. A small focus of lemon-coloured ribbon has been added as a contrast.

 

Helen's exercise was to make an ikebana with both straight and curving lines. She has used fine branches from a Dwarf Pomegranate which has berry-sized fruit. Both the straight and curved lines are from the same tree. A mass of succulent flowers sits within the ceramic bowl.

The other senior students were asked to make an ikebana, using winter flowers, with or without branch material.

Maureen arranged a small mass of white Narcissus with a branch of Manchurian pear Pyrus ussuriensis also in flower. She has added some Eucalyputus leaves to increase the Narcissus mass to balance with the tall branch.

Ellie used a single stem of densely-flowering green Cymbidium orchid. The stem was so heavy that she placed it in a boat-shaped vessel that was able to provide support for the tip of the stem. The foreshortening of the photo belies the length of the stem and the space at the back of the vessel. Ellie has removed two flowers so that the mass did not look too tight.

My ikebana this week is an arrangement of the semi-prostrate Acacia Baileyana from our garden. I decided to use it in a vase with a purple-looking glaze to contrast with the yellow flowers.

To keep the long drooping line from touching the table top I created this cross-bar wired to a vertical stem, which is secured in a kenzan. This means that the cross-bar can lightly touch the thin wall of the vase without the risk of a break. Conventional cross-bars are wedged against the side of a vessel.

The final result is a light-looking ikebana that hangs forward from the centre of the vase without touching the sides. The purple appearance of the vessel is illusory as the glaze is comprised of closely-spaced, fine red and blue lines.

The vessel is by the Australian ceramicist Pippin Drysdale.

Greetings from Christopher

11th August 2024

THE NATURAL UNIVERSE

I finally managed to photograph one of the fairly frequent visitors to our garden a couple of days ago, an adult Crimson Rosella. 

These intensely-coloured birds do not usually like us humans to get too close. To avoid scaring it I held my camera around a corner to take this photo, keeping most of my body hidden. The rosella was feasting on seeds in the rosemary bush beside the garden path.

Last week my Melbourne students were set the exercise of making an ikebana 'Using pine'.

Aileen made a compromise. Not having access to any pine she substituted a Casuarina branch with an attractive "S" curve in the stem. She added a large Camellia which was placed low and facing three quarters to the side so that it did not dominate the single branch.

Marcia used several stems of Himalayan cedar Cedrus deodara from her garden, which she chose for its weeping habit. She arranged it asymmetrically in a tall vessel with a mass of Hellebores off-centre in the mouth of the vessel.

Marcia kindly shared some of her Cedar branches with Marisha, who also made this ikebana in a tall vessel to show the graceful curves of the branches. Her contrasting flower is an Asiatic lily Lilium. 

Jacqueline used a branch of Cypress Cupressaceae, arranged in a glass vase. She placed a small branch inside the vase, giving a light mass that helped to balance the long curving line coming to the right front. Two stems of 'acid'-yellow carnations complement the curve of the branch.

In late June, Ray Bywaters from South Australia conducted workshops for the Victorian Sogetsu Branch. The theme of the second workshop was 'One leaf one flower'. An ikebana form through which, it is said, it is possible to represent the natural universe. 

Ray encouraged us to think about this idea and to add a twist that would make it a Sogetsu work. For my ikebana I used a late Hydrangea and a single variegated Aspidistra leaf. The Hydrangea is only slightly visible and the leaf has been manipulated into a zig-zagging form.

I re-used the leaf when I came home in a different vase and with some Asiatic Lilies. Of course, this ikebana no longer conforms to the exercise Ray had set, because there are two flowers.

The narrow vase is by the Japanese-Australian ceramic artist Hiroe Swen.

Greetings from Christopher

4th August 2024