2018 Ikebana Exhibit at Phoenix Art Museum

Ikebana of Arizona hosted the the 34th annual presentation of flower arrangements in the Asian Gallery of Phoenix Art Museum this month.   Thanks to all who contributed to making Ikebana of Arizona’s exhibit this year so very lovely.   Dr. Janet Baker’s comment was “fantastic”!    We had many visitors and countless positive responses.   Many visitors thanked us for sharing our ikebana and remarked on how much it meant to them.  Thanks also to members who volunteered to act as “docent hosts” to  share information about the different arrangements and provide information about Ikebana of Arizona and the various schools.

Gallery Guide:

  1. Allen, Susan: Sogetsu School. Niju-ike, a classic Japanese bamboo container with two levels, holds a cascading or hanging arrangement of pine, alstroemeria, and lilies.
  2. Brecker, Carol: Sogetsu School. A somber, meditative piece to complement the Infinite Light exhibit. A sea fan and budded peach branch emerge from Carol’s hand-made shell-shaped container coexisting with pottery squiggles on a wood burl base. From the deep stillness, seaweed-like dracaena reaches upward and delicate cymbidium orchid cascades earthward.
  3. Collins, Wanda: Sogetsu School. Variation #3, Slanting Style Nageire using palm and bamboo with yellow chrysanthemums.
  4. Cullison, Beth: Sogetsu School. “Loop-the-Loop,” a whimsical free style arrangement in a triple-circle ceramic container with yellow midollino sticks formed in a double circle, spider mums, and daisies.
  5. Foster, Tiah: Sogetsu School. Free style arrangement in a Japanese vase with white and red gladiolus.
  6. Gould, Carol: Sogetsu School. Burgundy dahlias, yellow crespedia (Billy Balls), baby’s breath, and ti leaves are contained in an antique vase on a wooden base.
  7. Hoe, Susan: Sogetsu School. This free style arrangement in a tall narrow vase uses a mixture of orange-colored curly willow and black branches accented with pin-cushion protea, white wax flowers, and Australian pine.
  8. Hughson, Yoly: Ikenobo School. Shoka Shimputai, a modern shoka, whose main elements are called shu (the lily) and yo (the oncidium). A flowering quince branch serves as ashirai, or helper.
  9. Hyde, JoAnn: Ohara School. “Landscape arrangement” is made up of piñon pine with small red flower accents. “Contemporary Arrangement” features amaryllis and tradescantia.  “Heika” is an arrangement of piñon pine, red rose, and baby’s breath.
  10. Jones, Theresa: Sogetsu School. This free style arrangement in a white container features red tulip anthurium, tropical foliage, and branches.
  11. LaLoggia, Wanda: Ikenobo School free style, Jiyuka, arrangement in a contemporary Japanese ceramic “boat-shaped” container with peace lily, Stargazer lily, croton, and yucca. Although a modern free style arrangement, this work reflects the ancient and classic boat shoka of the Ikenobo School with the materials outlining the shape of a sail and a small peace lily serving as an oar.
  12. Marconi-Dooley, Retta: Sogetsu School. A Shigaraki vase, which gets its unusual texture from the quartz crystals in the clay from Shiga Prefecture in Japan, sits on a myrtlewood base and holds variegated ti leaves and pink and red ginger blooms as if they were paint brushes on a master calligrapher’s desk.
  13. Millard, Janet: Sogetsu School. A free style arrangement in an antique bronze usubata container has white lilies, white alstroemeria, and eucalyptus. A miniature torii stands behind the usubata.
  14. Nguyen, Michele: Ikenobo School. Shoka Shimputai, a modern shoka with a main element, shu, here a plum branch, and a supporting element called yo, here the Queen Anne’s lace. The begonia serves as an ashirai, or helper. It also focuses the arrangement at the mizugiwa, the water’s edge.
  15. Palmer, Mary Ann: Sogetsu School. The black and red suiban container was chosen to reflect the “Red” theme in the galleries, and the arrangement is a traditional moribana, a term which means “heaped up,” using curly willow, stock, and mini-carnations.
  16. Payne, David: Ikenobo School. A classic Shoka Shofutai Isshuike, using one material, knife-blade eucalyptus with yellow fluff ball flowers. Because this material is flowering, it may be used alone to express its nature.
  17. Rosenblatt, Maya: Sogetsu School. A free style arrangement in an Oriental turtle container using bamboo and bromeliads.
  18. Schmich, Toby: Ikenobo School. A traditional shoka using two materials, this Shoka Nishuike with Nejime is in a Japanese ceramic container. Eucalyptus are shin and soe; and purple pom-pom mums form the tai area, called nejime here as it serves to “tighten” the area of the arrangement at the mizugiwa, or water’s edge.
  19. Sellars, Marty: Sogetsu School. A free style arrangement in a tall ceramic container hand-made by the arranger and holding eucalyptus and mums.
  20. Siedenburg, Minnette: Ikenobo School. This modern rikka, rikka shimputai, uses sago palm. The arrangement has two main elements called shu and yo complementing one another, responding to one another. Other materials serve as ashirai, helpers, to complete the globular form of the work.
  21. Sours, Jeanne: Ikenobo School. Shoka Nishuike with Nejime, a classic arrangement using two materials: calla lilies as shin and soe, the two main branches, and red alstroemeria as tai, here called nejime with the flowers in a V formation and functioning to “tighten” the area at the mizugiwa, the water’s edge.
  22. Storm, Linnéa: Ikenobo School. In the tokonoma is a traditional shoka using only one material, Shoka Shofutai Isshuike, here with flowering branches. As in all shoka arrangements, the “feet” are in a line, and the arrangement is intended to be viewed only from the front, as here in the tokonoma.In the gallery is Tatehana, or standing flowers, the oldest form of ikebana which would have been placed on the temple altar or in the tokonoma of a samurai’s residence. From this style rikka would emerge with its many main components. Materials include red twig dogwood, Queen Anne’s lace, bird of paradise leaf, solidago, freesia, statice, Italian ruscus, cape honeysuckle.
  23. Tall, Bev: Ikenobo School. This double arrangement, Futakabuike, is a divided shoka which separates the shin and soe of quince in one kenzan, from the tai of Dutch iris in the second kenzan. Futakabuike thus represents a land and water scene.
  24. Wong, Wyman: Sogetsu School. This free form arrangement with black, white and green colors is in a gray pedestal-design bowl. Painted bird of paradise leaves, aspidistra, and white calla lilies make up the materials, providing color contrast and distinctive lines and shapes as main elements in the design. Emphasis is on the sculptural qualities of the leaves and the wavy, curly effect of the plants.

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