This summer, installation
held in Glass Building made a huge sensation. This exhibition
represented a birth of new Tokyo International Forum
for its demutualization, and the universe. During Monday
7th July through Saturday 19th July, this illusion-like
space created by the bamboos and the lightings caught
many visitors' attention. The executive producer of
this event was Akane Teshigahara, the fourth headmaster
of Sogetsu-Ryu. In this edition, we ask her what lies
behind the concept of her work, and thoughts for challenging
new fields of her creative work.
Text : Yukiko Komine / Photo : Fumio Saito
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 Using
the soft touch of bamboos,
Putting on a high light on the inorganic space
My first impression of the Glass Building in the Tokyo International
Forum was "difficult space". I had never worked on such
a huge space, so I had a hard time thinking how it would
be. The Glass Building was so huge and inorganic, like an
objet d'art consists with glass and the other unrelated
materials. All sides and lines show many different faces,
and this place is definitely far from just a plain cubicle.
And then, I thought using character of the bamboo's
warmth and soft curbs could be very lively in a kind
of the space. Together with the illusion-like lightings,
they were blended in harmony better than I expected.
The theme of the exhibition was "Yuchiku". It was around
the Star Festival, and the bamboo was the material my
father preferred, and of course my favorite material
too, so I decided to use the bamboos. I put Marutake
combined with Waritake in the stairwell where is 60m
tall and 200m in length, and floated the bamboos in
there. It created leisurely moves on the bamboos, I
think. Although the Glass Building was very challenging
space for me, but I really enjoyed working on there.
Turning your feeling into a shape
A collaboration with the No play stages
Recently, I worked with many No play stages.
A No play has steady rhythms and slow moves, so it is
quite important to arrange the flowers not interfering
its style, but bringing out a contrasting of each other.
And based on that idea, I hope I could bring a new style
in the traditional No play and create something my heart
follows.
Including shows such as the dances and sings, I would
always meet the players and actors in person at first,
and talk to them. It helps me get to know what they
like, and that gives me a great inspiration. For me,
that's the key to make a great work. Through that process,
each of my work could turn out very differently, and
that's the what I enjoy the most.
The most interesting project I worked on lately is called
"Consummate Art of Kiyokazu Kanze No„Kocho" held in
the Orchardhall, Bunkamura in Shibuya on March. Before
the No play begun, I'd put an empty vase in the middle
of the stage. Then I started putting flowers as the
show went on. This concept was born through the careful
discussions with actors and people worked with, and
I had really great time creating my work as my emotion
told me to in front of the audience. It was a quite
flesh, enjoying experience to me. Not only my work,
but also showing the process of flower arranging would
have been a great entertainment for the people who came
to the play, I hope.
The important key is talking to the plants and the
flowers
Ikebana is a reflection of yourself
Every plant is different. Even the thinnest plants have
the strength inside. In the art of Ikebana, it is important
not to express yourself so baldly because there might
be chances that your work could turn out to be the just
bunch of the flowers, and nothing more to it. Having
a conversation with the plants, and learning each plants'
character is the essential for Ikebana. As an example,
Ikebana could bring out the beauty of the pines different
from its in natural shape. Flowers represent a nature,
in contrast to Ikebana. Ikebana is a reflection of the
person who arranges the flowers. Even using the same
vase and flowers, what comes out really differ from
each arranger and you could see the character of each
arranger and their emotions while arranging. In another
word, Ikebana shows your true self like a mirror.
As a material of Ikebana, I like using bamboos, but
also wisteria vines are my favorite too because wisteria
vines have so many different faces, lively moves and
the unique flexibility. Also, magnolia is a fun material
to work with. I prefer the plants that show real character.
I always try to be fair, supple, and the person cannot
be ignored. I hope my work show the reflection of my
effort.
 "Whenever,
Wherever, Whoever"
Shogetsu Ikebana
Because Ikebana used to be a part of domestic training
and that image may still be on everybody's mind, some
people think Ikebana is not for everyone. To break that
idea, people involved with Ikebana should approach to
the society and popularize Ikebana far and wide. As
a first step, we practice "Flowork" which is a coinage
of the words "flower" and "work". Unlike the traditional
style of Ikebana, "Flowork" introduces the joy of Ikebana
through the demonstrations in the hotels, department
stores and economic development events and etc. The
idea is to grab people's attention and let them get
to know how Ikebana is done, and enjoy it. We are trying
to have those occasions as many as we could.
I like to see more flowers in the households. Arranging
flowers is not complicated as it seemsQ putting seasonal
flowers in your favorite vase and decorating it on the
table, just like that. By actually doing yourself, you
will discover the fun and joy of Ikebana. "Whenever,
Wherever, Whoever" is the style of Shogetsu Ikebana.
I wish to put my work in the Diet Building because
I think there is the last place concerning Ikebana
Ultimately, every art work is done by on your own,
so it can be said I'm in very lonely world as an artist.
In contrast, as the headmaster of Sogetsu, I'm always
surrounded by so many members and students. There is
over 90 years old and still incumbent teacher, and even
members in their 70s and 80s are so amazingly active.
I also teach junior class, and students in my class
seem having confidence and becoming so sure of themselves
in couple of years of flower arranging freely. It is
pleasant to find out those things, and every discovery
is always flesh to me.
I always have been and will be eager to find something
new, learning it and turning it into a shape. I treasure
this pure passion coming out from my heart. I hope to
keep creating the pieces that could bring out the greatness
of the plants more than it seems.
Where I'd like to work on right now? The answer would
be the Diet Building. It seems there is the last place
concerning Ikebana, but essentially, Ikebana does not
choose a place to have it. Someday, I hope to put my
work that is not just beautiful, but also having a great
impact in there.
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Akane
Teshigahara Born in 1960, daughter
of Hiroshi Teshigahara, the third
headmaster of Sogetsu-Ryu, and film
director. Under the influence of her
grandfather Sofu, the first headmaster
of Sogetsu, and her aunt Kasumi, the
second headmaster, Akane learned Ikebana
since her early childhood, especially
from Kasumi. "Free Personal Creation"
is the heart of Sogetsu, and Akane
has grown to be the new leader of
Sogetsu. She designed and produced
an outdoor exhibiton called "Sogetsu:
Flower Avenue" took place in Omotesando,
Tokyo, introducing Sogetsu art to
the people unfamiliar to Ikebana.
That shows her eagerness for searching
new style of Ikebana. Moreover, she
offers "Akane Junior Class" for children
to develop their sensibilities through
Ikebana, and that tells her passion
towards teaching. Also, she's challenging
new fields such as space design, establishing
her own style with flesh sense to
this era. |
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"85th Sogetsu Ikebana
Exhibiton"
Thursday 6th November - Tuesday 11th November
Nihonbashi Takashimaya department 10:00 - 19:30
Closed at 18:00 on Saturday 8th November and
Tuesday 11th November
Shinjuku Takashimaya department 10:00 - 20:00
Closed at 18:00 on Tuesday 11th November
For more information:
Sogetsu Foundation Cultural Department
Tel: 03-3408-1156 |
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