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Luca Ramacciotti – Sogetsu Concentus Study Group

(Foto e progetto di Alexander Evans)

Torno su questo tema affrontato di recente ed anche in passato  in vari post perché davvero molto affascinante nel doverlo rapportare al mondo dell’ikebana.

Rigrazio Alexander Evans sensei che mi ha permesso di utilizzare le sue foto e lo scritto che le accompagna e che può aggiungere un altro interessante tassello a questo argomento che lui ha svolto con il supporto e l’incoraggiamento della sua insegnante Sandra Marker.

Prima di lasciare la parola a lui quello che mi ha colpito è stato il suo ulteriore passo in avanti. Ovvero non solo l’uso di materiale non convenzionale, ma anche l’happening del fuoco. Come ho detto a lui ciò mi ha ricordato quello che lo Iemoto Hiroshi Teshigahara fece (in scala maggiore) con l’installazione Legno e Fuoco.

“This week my lesson was about unconventional materials and I deeply considered the topic. What is it that makes ikebana, ikebana if not the materials that we use? An interesting question I think. The conclusion that I came to was when you strip away the beauty of the flower, the leaf, the branch itself what is the philosophy underlying ikebana? I think each ikebana artist is going to have their own answer to that, and each will be valid in their own way, but for me, on a deep level, it is about the inherent nature of the passing of things, the finding of beauty in them each in their moment in time. It is about finding ways to cause that moment to shine and to engage the human spirit in a moment of transcendence of the every day while at the very same moment being supremely conscious that the moment of transcendence is itself transitory and temporary. In considering my unconventional material this was foremost in my mind. I wanted it to have it’s moment. not to be fixed permanently in time but rather to be present, to be beautiful and then to end, and perhaps to become something else, beautiful in an other and new way.

I set about building my ikebana of unconventional materials from match boxes. I often work large and bold and I wanted the challenge of finding beauty in small things. I also rarely work in blue (as a blonde haired, blue eyed child, my parents often dressed me in blue and by my late teens I’d had quite enough of it) and so decided that I needed also to challenge myself in that sense and so painted my match boxes blue. I built structures that had line, mass and colour, they had points of focus and were in and of themselves very lovely and met the requirements for the lesson but I wanted that other element to come into play, the moment, the temporary passing instant in which the thing would experience transition, change and transformation as does the flower and leaf as they wilt and dry… and so I brought into my work the element of fire. Dramatic, dynamic, alive and bringing with it change. In this way, my unconventional material had it’s moment, its season, and then it was changed and yet beautiful in new and unexpected ways that can only ever be revealed by the action of natural forces, time, wind, fire, water and the wearing of the earth.”

Ringrazio Alexander per avermi permesso di condividere tutto sul mio blog e vi consiglio una visita al suo sito perché fa davvero degli ikebana stupendi.

E’ bello incontrare persone come lui lungo la via dei fiori.

Concentus Study Group

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