Murano glass meets ikebana
Portrait of Marie-Rose Kahane, founder of YALI glass
As part of ‘New Nature’ exhibition at PATERSON ZEVI in London, curated by Julia Tarasyuk and organized with IKEBANA projects, we spoke to Marie-Rose Kahane, the founder and creative mind behind YALI glass. Her vessels, handcrafted in the historical and artisanal glass furnaces of Murano in Venice have been inspired by the traditional shallow Ikebana containers named after a type of arrangement, moribana (literally translated from Japanese as “piled up flowers”), which appeared in 1890.
How did you first get into glass making?
The fragility, the transparency and reflections of glass objects have attracted me many years before I started making glass. So in some way that was the beginning of my journey. When moving to Venice I was soon drawn to the furnaces in Murano. We were missing drinking glasses at home and making the first A FILO collection became my first project with glass maestro Roberto Finotto.
You have been fascinated with Japan and Japanese culture. Please tell us about your experience working there and encountering Ikebana for the first time?
My fascination with Japan started while watching Ozu’s black and white films. Tokyo Stories led me into the world of contemplation with the slow moving low held film camera. I was very lucky to have my glass works hosted by Sonya Park at Arts&Science in Tokyo a few years ago. The flat glass dish came to life under the hands and gaze of a wonderful florist. It seemed magical when a large branch with cherry blossoms was placed precariously in the water pond created by the glass vessel.
What inspires you about the art of Ikebana?
The other day at the New Nature exhibition at PATERSON ZEVI gallery in London, one of my vessels became the support of an upside down tree. This transformation of reality opens our limits of perception and invites endless creativity. Ikebana is always surprising – it gives nature a certain twist.
Installation view at PATERSON ZEVI London. Glass container by YALI. Ikebana arrangement by Julia Tarasyuk. Photo by Will Amlot.
How did the idea to create ‘moribana’ containers came about?
Many years ago a close friend of mine - the Venetian gallerist Giorgio Mastinu - gave me a wonderful book by Munari Un Fiore con Amore and I understood how any vessel could become a container for flowers or twigs. With the help of Maestro Simone Cenedese the flat glass dish came to life. The hot glass is poured into a low metal mold. Just before it cools down and becomes solid we press a shape into the glass to form the inside of the vessel. Each piece comes out slightly differently. And in this way the vessels reflect the endless multitude of shapes we find in nature and plants.
When designing vessels aimed for flowers do you have any particular images of plants in mind?
I often think of bendy poppies. They create such beautiful and varied drawn lines!
Murano is a historical place for glass. It must be simultaneously rewarding and complex to be part of this community of multigenerational glass designers. What do you like most about it and what do you find most challenging?
It took me many years to become part of this community! The furnaces are operated by men only – so it is difficult to make your space as a woman. But once you are accepted there is a strong bond and rich relationship. The good discourse with the maestro is so important – we work very closely together and our dialogue is based on trust and respect.
At the moment there are a lot of conversations within the arts and crafts field in Japan on how to keep traditions and modernize them for the future. Is this conversation relevant for Murano glassmakers? If so, what is your view on it?
Glass making in Murano has not changed much since the 17th century - the tools and techniques are the same. Like the rest of the world some furnaces in Murano are starting to think about renewable energy and how to harness the heat coming from the ovens 24/7. Marcantonio Brandolini is one of leading figures in looking into the future of Murano and its use of energy.
What do you enjoy most in designing your pieces? Do you imagine homes or interiors you would like them to be?
It is most exciting to witness how from a two dimensional drawing the maesto forms a 3 dimensional piece. It is always magical and surprising when a piece comes to life in the hands of the maestro and his team.
I do imagine how a piece would look in an interior - often an interior with clear lines and toned down colours. My ideal home has a lot of whites and new pieces must feel comfortable in this environment.
Practicality vs visuality, what comes first in your practice?
This is a constant discussion in my head and also with the creative team at YALI: with Felicity Menadue and Pietro Haas we have an ongoing conversation about exactly this topic. Every new glass is tried out by all of us during our studio lunches!