The Ikeru Project: Meet The Artists

Reito Oizumi (left) & Makiko Morange (right). Photography by Yulia Skogoreva for IKEBANA projects

Working on 'The Ikeru Project' with Ikebana artists Makiko Morange and Reito Oizumi was an exciting adventure that expanded horizons and introduced new kind of experience. We spoke with the Tokyo-based ikebana artists and Sogetsu School members about what initially draw them to the art of Ikebana, their vision and practice.



How did you first fall in love with Ikebana?

Reito Oizumi: I fell in love with Ikebana when I heard the words of Sofu Teshigahara: “Flowers become human in ikebana.” This quote was the starting point of Sogetsu Ikebana. You can see beautiful flowers in nature but when you arrange them in Ikebana, you create your own reflection, Ikebana becomes you. 

Makiko Morange: I first encountered ikebana in Seoul in 1997 at a small exhibition of Sogetsu Ikebana school. At that point I had been moving around the world a lot and lived in different countries. I wanted to find something I could create anywhere and anytime. This openness and flexibility is what I initially loved about Ikebana. Having rigorously studied Ikebana rules and principles for the first couple of years it wasn't until I saw the exhibition of Hiroshi Teshigahara in Tokyo that I discovered a truly creative side of it. Ikebana is a continuous learning curve and every day I keep learning from my teacher, my peers and my students.

There are many misconceptions around the art of Ikebana. It is often mistaken with dried flower arrangement or just a regular flower composition. If you were to dispel one myth about Ikebana what would it be?

MM: I guess the main misconception is that ikebana is old-fashioned, a "classical" practice that requires a lot of patience and learning. But actually ikebana - especially Sogetsu School - is incredibly creative. You can choose any plant, flower, container, material. There's a lot of freedom. Any creation could be Ikebana. 

RO: Ikebana is a result of a momentarily encounter with plants. It is an instant beauty and its creation involves a lot of improvisation.

As you mentioned, Ikebana is a reflection of a person creating it. Do you think you have in any way been transformed by your Ikebana practice?

MM: Ikebana made me more open and receptive to other artforms like visual arts, music, design. It made my vision and senses much sharper, everything becomes an inspiration.

With so much tradition and history behind the art of Ikebana what do you think contemporary ikebana stands for? Is there a room for innovation?

RO: Ikebana can become a piece of contemporary art depending on the artist's concept. There are many possibilities.

MM: Ikebana is always a reflection of time and environment. When Sofu Teshigahara created Sogetsu School of Ikebana, it was a sensational act with a truly avant-garde approach. His works still look very contemporary so good ikebana can last forever. These days I think more and more visual artists source their inspiration in ikebana and I absolutely love these kind of collaborations.

Ikebana has traditionally been an art form dominated by men but with time it became more inclusive. As an ikebana artist do you see any particular distinction between male and female Ikebana styles and approaches?  

RO: Today rather than differences in style between men and women, there are variations in individual styles and attitudes. There are different ways of thinking. Ikebana was dominated by men from the Muromachi period to the early Edo period. Since the Edo period, Ikebana has spread to the general public, and became inclusive and open to everyone.

MM: I feel that men can be more determined on their path to become an ikebana master. On the other hand, female ikebana has softness and flexibility.

What are the natural or artificial materials you love working with the most? Do you have a favorite flower/plant to create ikebana with?

MM: I create works involving embroidery on plants. I love threads of all kinds and am always looking for plants which I could do embroidery on. It's quite common for ikebana masters to have a particular interest or technique and to use this throughout their practice.

RO: I like creating with branches and strong lines. It gives my Ikebana works a sculptural quality. 

Where do you look for inspiration? In art, architecture, nature?

MM: My creations come from everywhere: music, arts, people, nature and books. When I saw the Cave gallery white cube space for which we created the Sakura arrangement the idea of a strong container came up. Both the space and the container are huge inspirations to my arrangements. The old house was a traditional space so we felt inspired to create something more contemporary. Contrast is really key. 

RO: Nature, art and architecture are all sources of inspiration. I look for a strong line everywhere I go.

We absolutely loved working with you on creating Ikebana Projects video piece about this art form. Why do you think it’s important to share the Japanese teaching of Ikebana with the international audience and what motivates you to do so?

MM: There is a particular way of emptiness (MA 間) in Japanese culture and it is reflected in Ikebana too. This idea of «less is more» really differs Ikebana from Western flower arrangements. Japanese people have an innate appreciation for each plant, nature, seasons. Ikebana reflects that too through its seasonality. Sharing my passion with other people is an important part of my teaching practice as I don't  want ikebana to disappear. Ikebana is also a way to encounter people through plants. Actually my Ikebana name «Reio» means a beautiful encounter.

RO: To me Ikebana is one of the symbols of the Japanese aesthetics which I would love to share with people all over the world.